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› Find signed collectible books: 'The Aleph and Other Stories'
Full of philosophical puzzles and supernatural surprises, these stories contain some of Borgess most fully realized human characters. With uncanny insight he takes us inside the minds of an unrepentant Nazi, an imprisoned Mayan priest, fanatical Christian theologians, a woman plotting vengeance on her fathers killer, and a man awaiting his assassin in a Buenos Aires guest house. This volume also contains the hauntingly brief vignettes about literary imagination and personal identity collected in The Maker, which Borges wrote as failing eyesight and public fame began to undermine his sense of self.
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› Find signed collectible books: 'The Aleph and Other Stories, 1933-1969: Together with Commentaries and an Autobiographical Essay'
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› Find signed collectible books: 'Artificios'
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› Find signed collectible books: 'The Book Of Imaginary Beings'
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› Find signed collectible books: 'The Book Of Imaginary Beings'
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› Find signed collectible books: 'The Book of Sand'

› Find signed collectible books: 'Borges'
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› Find signed collectible books: 'Borges: A Life'
Edwin Williamson's major new biography is the first in any language to encompass the entire span of Jorge Luis Borges's life and work. Drawing upon previously unknown or unavailable sources, it brings out the human side of Borges: his roots in Argentina, the evolution of his political ideas, his relations with family and friends; the conflicts, desires, and obsessions that drove the man and shaped his work. Williamson's definitive biography finally unlocks the mysteries that still surround hte life of Borges, resulting in a compelling and poignant portrait that will radically transform established views of this modern master. [via]
› Find signed collectible books: 'Borges and His Fiction: A Guide to His Mind and Art'
From reviews of the first edition:
"A compulsively readable account of the life and works of our greatest...writer of fantasy. With a keen appreciation of Borges himself and a pleasant disregard for the critical clichés, Bell-Villada tells us all we really want to know about the modern master-from pronouncing his name to understanding the stories."
New York Daily News
"Of the scores of Borges studies by now published in English, Bell-Villada's excellent book stands out as one of the freshest and most generally helpful.... Lay readers and specialists alike will find his book a valuable and highly readable companion to Ficciones and El Aleph."
Choice
Since its first publication in 1981, Borges and His Fiction has introduced the life and works of this Argentinian master-writer to an entire generation of students, high school and college teachers, and general readers. Responding to a steady demand for an updated edition, Gene H. Bell-Villada has significantly revised and expanded the book to incorporate new information that has become available since Borges' death in 1986. In particular, he offers a more complete look at Borges and Peronism and Borges' personal experiences of love and mysticism, as well as revised interpretations of some of Borges' stories. As before, the book is divided into three sections that examine Borges' life, his stories in Ficciones and El Aleph, and his place in world literature.
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› Find signed collectible books: 'Borges And The Eternal Orangutans'
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› Find signed collectible books: 'Borges, a Reader: A Selection from the Writings of Jorge Luis Borges'
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› Find signed collectible books: 'Brodie's Report'
At the age of seventy, after a gap of twenty years, Jorge Luis Borges returned to writing short stories. In Brodies Report, he returned also to the style of his earlier years with its brutal realism, nightmares, and bloodshed. Many of these stories, including Unworthy and The Other Duel, are set in the macho Argentinean underworld, and even the rivalries between artists are suffused with suppressed violence. Throughout, opposing themes of fate and free will, loyalty and betrayal, time and memory flicker in the recesses of these compelling stories, among the best Borges ever wrote.
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› Find signed collectible books: 'Collected Fictions'
Although Jorge Luis Borges published his first book in 1923--doling out his own money for a limited edition of Fervor de Buenos Aires--he remained in Argentinian obscurity for almost three decades. In 1951, however, Ficciones appeared in French, followed soon after by an English translation. This collection, which included the cream of the author's short fictions, made it clear that Borges was a world-class (if highly unclassifiable) artist--a brilliant, lyrical miniaturist, who could pose the great questions of existence on the head of pin. And by 1961, when he shared the French Prix Formentor with Samuel Beckett, he seemed suddenly to tower over a half-dozen literary cultures, the very exemplar of modernism with a human face.
By the time of his death in 1986, Borges had been granted old master status by almost everybody (except, alas, the gentlemen of the Swedish Academy). Yet his work remained dispersed among a half-dozen different collections, some of them increasingly hard to find. Andrew Hurley has done readers a great service, then, by collecting all the stories in a single, meticulously translated volume. It's a pleasure to be reminded that Borges's style--poetic, dreamlike, and compounded of innumerable small surprises--was already in place by 1935, when he published A Universal History of Iniquity: "The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it." (Incidentally, the thrifty author later recycled the second of these aphorisms in his classic bit of bookish metaphysics, "Tlon, Uqbar, Orbis Teris.") The glories of his middle period, of course, have hardly aged a day. "The Garden of the Forking Paths" remains the best deconstruction of the detective story ever written, even in the post-Auster era, and "Pierre Menard, Author of the Quixote" puts the so-called death of the author in pointed, hilarious perspective.
But Hurley's omnibus also brings home exactly how consistent Borges remained in his concerns. As late as 1975, in "Avelino Arredondo," he was still asking (and occasionally even answering) the same riddles about time and its human repository, memory: "For the man in prison, or the blind man, time flows downstream as though down a slight decline. As he reached the midpoint of his reclusion, Arredondo more than once achieved that virtually timeless time. In the first patio there was a wellhead, and at the bottom, a cistern where a toad lived; it never occurred to Arredondo that it was the toad's time, bordering on eternity, that he sought." Throughout, Hurley's translation is crisp and assured (although this reader will always have a soft spot for "Funes, the Memorious" rather than "Funes, His Memory.") And thanks to his efforts, Borgesians will find no better--and no more pleasurable--rebuttal of the author's description of himself as "a shy sort of man who could not bring himself to write short stories." --James Marcus [via]
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› Find signed collectible books: 'Collected Fictions'
Although Jorge Luis Borges published his first book in 1923--doling out his own money for a limited edition of Fervor de Buenos Aires--he remained in Argentinian obscurity for almost three decades. In 1951, however, Ficciones appeared in French, followed soon after by an English translation. This collection, which included the cream of the author's short fictions, made it clear that Borges was a world-class (if highly unclassifiable) artist--a brilliant, lyrical miniaturist, who could pose the great questions of existence on the head of pin. And by 1961, when he shared the French Prix Formentor with Samuel Beckett, he seemed suddenly to tower over a half-dozen literary cultures, the very exemplar of modernism with a human face.
By the time of his death in 1986, Borges had been granted old master status by almost everybody (except, alas, the gentlemen of the Swedish Academy). Yet his work remained dispersed among a half-dozen different collections, some of them increasingly hard to find. Andrew Hurley has done readers a great service, then, by collecting all the stories in a single, meticulously translated volume. It's a pleasure to be reminded that Borges's style--poetic, dreamlike, and compounded of innumerable small surprises--was already in place by 1935, when he published A Universal History of Iniquity: "The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it." (Incidentally, the thrifty author later recycled the second of these aphorisms in his classic bit of bookish metaphysics, "Tlon, Uqbar, Orbis Teris.") The glories of his middle period, of course, have hardly aged a day. "The Garden of the Forking Paths" remains the best deconstruction of the detective story ever written, even in the post-Auster era, and "Pierre Menard, Author of the Quixote" puts the so-called death of the author in pointed, hilarious perspective.
But Hurley's omnibus also brings home exactly how consistent Borges remained in his concerns. As late as 1975, in "Avelino Arredondo," he was still asking (and occasionally even answering) the same riddles about time and its human repository, memory: "For the man in prison, or the blind man, time flows downstream as though down a slight decline. As he reached the midpoint of his reclusion, Arredondo more than once achieved that virtually timeless time. In the first patio there was a wellhead, and at the bottom, a cistern where a toad lived; it never occurred to Arredondo that it was the toad's time, bordering on eternity, that he sought." Throughout, Hurley's translation is crisp and assured (although this reader will always have a soft spot for "Funes, the Memorious" rather than "Funes, His Memory.") And thanks to his efforts, Borgesians will find no better--and no more pleasurable--rebuttal of the author's description of himself as "a shy sort of man who could not bring himself to write short stories." --James Marcus [via]
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› Find signed collectible books: 'Conversations with Jorge Luis Borges'
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› Find signed collectible books: 'Doctor Brodie's Report'
This collection of 11 short stories includes "The Gospel According to Mark", "The Unworthy Friend", "The Duel", "The End of the Duel", "Rosendo's Tale", "The Intruder", "The Meeting", "Juan Mruana", "The Elder Lady", "Guayaquil" and "Doctor Brodie's Report". [via]
› Find signed collectible books: 'Dreamtigers'
Dreamtigers has been heralded as one of the literary masterpieces of the twentieth century by Mortimer J. Adler, editor of Great Books of the Western World. It has been acknowledged by its author as his most personal work. Composed of poems, parables, and stories, sketches and apocryphal quotations, Dreamtigers at first glance appears to be a sampler--albeit a dazzling one--of the master's work. Upon closer examination, however, the reader discovers the book to be a subtly and organically unified self-revelation.
Dreamtigers explores the mysterious territory that lies between the dreams of the creative artist and the "real" world. The central vision of the work is that of a recluse in the "enveloping serenity " of a library, looking ahead to the time when he will have disappeared but in the timeless world of his books will continue his dialogue with the immortals of the past -- Homer, Don Quixote, Shakespeare. Like Homer, the maker of these dreams is afflicted with failing sight. Still, he dreams of tigers real and imagined and reflects upon of a life that, above all, has been intensely introspective, a life of calm self-possession and absorption in the world of the imagination. At the same time he is keenly aware of that other Borges, the public figure about whom he reads with mixed emotions: "It's the other one, it's Borges, that things happen to."
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› Find signed collectible books: 'El Aleph'
El trabajo que da titulo a Historia de la eternidad se ocupa del tiempo y de su negacion y examina dos concepciones contrapuestas de eternidad: la alejandrina, de raiz platonica, y la cristiana, nacida con la doctrina trinitaria de Ireneo y formalizada por San Agustin. Otras dos penetrantes digresiones estudian la doctrina de Nietzsche sobre el eterno retorno y las concepciones basadas en el caracter recurrente del movimiento historico. El examen de las versiones clÃÂásicas de Las 1001 noches ilustra los condicionamientos culturales e historicos de la labor de traduccion. [via]

› Find signed collectible books: 'El Hacedor'
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› Find signed collectible books: 'El Libro De Arena'
This title is out of print. [via]
› Find signed collectible books: 'El Libro De Los Seres Imaginarios'
Ciento dieciseis seres imaginarios pueblan las paginas de este libro. Jorge Luis Borges los ha hecho venir de todos los rincones del mundo y la Mitología.¿ Pero, hasta donde son realmente imaginarios? Mística, metafísica, poesía, viejos relatos y realidades. [via]
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› Find signed collectible books: 'Ficciones'
Reading Jorge Luis Borges is an experience akin to having the top of one's head removed for repairs. First comes the unfamiliar breeze tickling your cerebral cortex; then disorientation, even mild discomfort; and finally, the sense that the world has been irrevocably altered--and in this case, rendered infinitely more complex. First published in 1945, his Ficciones compressed several centuries' worth of philosophy and poetry into 17 tiny, unclassifiable pieces of prose. He offered up diabolical tigers, imaginary encyclopedias, ontological detective stories, and scholarly commentaries on nonexistent books, and in the process exploded all previous notions of genre. Would any of David Foster Wallace's famous footnotes be possible without Borges? Or, for that matter, the syntactical games of Perec, the metafictional pastiche of Calvino? For good or for ill, the blind Argentinian paved the way for a generation's worth of postmodern monkey business--and fiction will never be simply "fiction" again.
Its enormous influence on writers aside, Ficciones has also--perhaps more importantly--changed the way that we read. Borges's Pierre Menard, for instance, undertakes the most audacious project imaginable: to create not a contemporary version of Cervantes's most famous work but the Quixote itself, word for word. This second text is "verbally identical" to the original, yet, because of its new associations, "infinitely richer"; every time we read, he suggests, we are in effect creating an entirely new text, simply by viewing it through the distorting lens of history. "A book is not an isolated being: it is a relationship, an axis of innumerable relationships," Borges once wrote in an essay about George Bernard Shaw. "All men who repeat one line of Shakespeare are William Shakespeare," he tells us in "Tlön, Uqbar, Orbis Tertius." In this spirit, Borges is not above impersonating, even quoting, himself.
It is hard, exactly, to say what all of this means, at least in any of the usual ways. Borges wrote not with an ideological agenda, but with a kind of radical philosophical playfulness. Labyrinths, libraries, lotteries, doubles, dreams, mirrors, heresiarchs: these are the tokens with which he plays his ontological games. In the end, ideas themselves are less important to him than their aesthetic and imaginative possibilities. Like the idealist philosophers of Tlön, Borges does not "seek for the truth or even for verisimilitude, but rather for the astounding"; for him as for them, "metaphysics is a branch of fantastic literature." --Mary Park [via]
› Find signed collectible books: 'Fictions'
Reading Jorge Luis Borges is an experience akin to having the top of one's head removed for repairs. First comes the unfamiliar breeze tickling your cerebral cortex; then disorientation, even mild discomfort; and finally, the sense that the world has been irrevocably altered--and in this case, rendered infinitely more complex. First published in 1945, his Ficciones compressed several centuries' worth of philosophy and poetry into 17 tiny, unclassifiable pieces of prose. He offered up diabolical tigers, imaginary encyclopedias, ontological detective stories, and scholarly commentaries on nonexistent books, and in the process exploded all previous notions of genre. Would any of David Foster Wallace's famous footnotes be possible without Borges? Or, for that matter, the syntactical games of Perec, the metafictional pastiche of Calvino? For good or for ill, the blind Argentinian paved the way for a generation's worth of postmodern monkey business--and fiction will never be simply "fiction" again.
Its enormous influence on writers aside, Ficciones has also--perhaps more importantly--changed the way that we read. Borges's Pierre Menard, for instance, undertakes the most audacious project imaginable: to create not a contemporary version of Cervantes's most famous work but the Quixote itself, word for word. This second text is "verbally identical" to the original, yet, because of its new associations, "infinitely richer"; every time we read, he suggests, we are in effect creating an entirely new text, simply by viewing it through the distorting lens of history. "A book is not an isolated being: it is a relationship, an axis of innumerable relationships," Borges once wrote in an essay about George Bernard Shaw. "All men who repeat one line of Shakespeare are William Shakespeare," he tells us in "Tlön, Uqbar, Orbis Tertius." In this spirit, Borges is not above impersonating, even quoting, himself.
It is hard, exactly, to say what all of this means, at least in any of the usual ways. Borges wrote not with an ideological agenda, but with a kind of radical philosophical playfulness. Labyrinths, libraries, lotteries, doubles, dreams, mirrors, heresiarchs: these are the tokens with which he plays his ontological games. In the end, ideas themselves are less important to him than their aesthetic and imaginative possibilities. Like the idealist philosophers of Tlön, Borges does not "seek for the truth or even for verisimilitude, but rather for the astounding"; for him as for them, "metaphysics is a branch of fantastic literature." --Mary Park [via]

› Find signed collectible books: 'The Gangs of New York : An Informal History of the Underworld'
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› Find signed collectible books: 'Jorge Luis Borges: A Literary Biography'
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› Find signed collectible books: 'Jorge Luis Borges: El Aleph/ Ficciones/ Antologia Poetica / El Aleph/ Fictions/ Poetic Anthology'
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› Find signed collectible books: 'Labyrinths: Selected Stories & Other Writings'
If Jorge Luis Borges had been a computer scientist, he probably would have invented hypertext and the World Wide Web.
Instead, being a librarian and one of the world's most widely read people, he became the leading practitioner of a densely layered imaginistic writing style that has been imitated throughout this century, but has no peer (although Umberto Eco sometimes comes close, especially in Name of the Rose).
Borges's stories are redolent with an intelligence, wealth of invention, and a tight, almost mathematically formal style that challenge with mysteries and paradoxes revealed only slowly after several readings. Highly recommended to anyone who wants their imagination and intellect to be aswarm with philosophical plots, compelling conundrums, and a wealth of real and imagined literary references derived from an infinitely imaginary library. [via]
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› Find signed collectible books: 'The Mind's I'
Ever wondered who you are? Who you really are? This collection of writings and reflections by some of today's most notable thinkers is designed to enliven this most central, and most baffling, question in the philosophy of mind. In some ways, the questions posed and bantered about in this book are at the heart of all philosophical reasoning. They are the ultimate questions about the self. The Mind's I contains an astonishing variety of approaches to answering the question, "Who am I?" Between the covers of this book one encounters the literary erudition of Argentinean writer Jorge Luis Borges alongside the analytic rigor of John Searle. There are sophisticated metaphorical pieces (such as "The Princess Ineffabelle" by Polish philosopher and writer Stanislaw Lem), intriguing dialogues (like Raymond Smullyan's "Is God a Taoist?"), and serious but engaging philosophical essays from a host of thinkers (see Thomas Nagel's "What Is It Like to Be a Bat?").
Editors Hofstadter and Dennett--leading lights in the study of cognitive science, artificial intelligence, and the philosophy of mind--follow each selection with a short reflection designed to elaborate on their main themes. The Mind's I admirably broadens their fields to a more general audience. The book's essays are grouped into six categories, each successively raising the philosophical stakes by introducing new levels of complexity. Ultimately, one confronts some of the thorniest questions in modern philosophy here, such as the nature of free will, our place in the metaphysical world, and the possibility of genuine artificial intelligence. The book closes with a playful and perplexing piece by Robert Nozick, an adequate summation to The Mind's I. He writes, "Perhaps God has not decided yet whether he has created, in this world, a fictional world or a real one.... Which decision do you hope for?" --Eric de Place [via]
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› Find signed collectible books: 'The Mind's I: Fantasies and Reflections on Self and Soul'
Ever wondered who you are? Who you really are? This collection of writings and reflections by some of today's most notable thinkers is designed to enliven this most central, and most baffling, question in the philosophy of mind. In some ways, the questions posed and bantered about in this book are at the heart of all philosophical reasoning. They are the ultimate questions about the self. The Mind's I contains an astonishing variety of approaches to answering the question, "Who am I?" Between the covers of this book one encounters the literary erudition of Argentinean writer Jorge Luis Borges alongside the analytic rigor of John Searle. There are sophisticated metaphorical pieces (such as "The Princess Ineffabelle" by Polish philosopher and writer Stanislaw Lem), intriguing dialogues (like Raymond Smullyan's "Is God a Taoist?"), and serious but engaging philosophical essays from a host of thinkers (see Thomas Nagel's "What Is It Like to Be a Bat?").
Editors Hofstadter and Dennett--leading lights in the study of cognitive science, artificial intelligence, and the philosophy of mind--follow each selection with a short reflection designed to elaborate on their main themes. The Mind's I admirably broadens their fields to a more general audience. The book's essays are grouped into six categories, each successively raising the philosophical stakes by introducing new levels of complexity. Ultimately, one confronts some of the thorniest questions in modern philosophy here, such as the nature of free will, our place in the metaphysical world, and the possibility of genuine artificial intelligence. The book closes with a playful and perplexing piece by Robert Nozick, an adequate summation to The Mind's I. He writes, "Perhaps God has not decided yet whether he has created, in this world, a fictional world or a real one.... Which decision do you hope for?" --Eric de Place [via]
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› Find signed collectible books: 'The Mind's I: Fantasies and Reflections on Self and Soul'
Ever wondered who you are? Who you really are? This collection of writings and reflections by some of today's most notable thinkers is designed to enliven this most central, and most baffling, question in the philosophy of mind. In some ways, the questions posed and bantered about in this book are at the heart of all philosophical reasoning. They are the ultimate questions about the self. The Mind's I contains an astonishing variety of approaches to answering the question, "Who am I?" Between the covers of this book one encounters the literary erudition of Argentinean writer Jorge Luis Borges alongside the analytic rigor of John Searle. There are sophisticated metaphorical pieces (such as "The Princess Ineffabelle" by Polish philosopher and writer Stanislaw Lem), intriguing dialogues (like Raymond Smullyan's "Is God a Taoist?"), and serious but engaging philosophical essays from a host of thinkers (see Thomas Nagel's "What Is It Like to Be a Bat?").
Editors Hofstadter and Dennett--leading lights in the study of cognitive science, artificial intelligence, and the philosophy of mind--follow each selection with a short reflection designed to elaborate on their main themes. The Mind's I admirably broadens their fields to a more general audience. The book's essays are grouped into six categories, each successively raising the philosophical stakes by introducing new levels of complexity. Ultimately, one confronts some of the thorniest questions in modern philosophy here, such as the nature of free will, our place in the metaphysical world, and the possibility of genuine artificial intelligence. The book closes with a playful and perplexing piece by Robert Nozick, an adequate summation to The Mind's I. He writes, "Perhaps God has not decided yet whether he has created, in this world, a fictional world or a real one.... Which decision do you hope for?" --Eric de Place [via]
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› Find signed collectible books: 'Obras Completas: Tomo Iv'
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› Find signed collectible books: 'Other Inquisitions 1937-1952'
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› Find signed collectible books: 'Personal Anthology'
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› Find signed collectible books: 'The Secret Books'
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› Find signed collectible books: 'Selected Poems'
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› Find signed collectible books: 'Selected Poems'
During his life, Jorge Luis Borges wore many hats. He was, variously, a poet, an essayist, a short-story writer, a librarian, and, for a short time, a poultry inspector. Born in Argentina in 1899, he lived for several years in Europe before eventually returning home to Buenos Aires in the early 1920s. It was here that Borges started his career as a writer. At the age of 24, he published his first volume of poetry, and though he would go on to garner considerable acclaim as an essayist and crafter of fiction, he always considered himself first and foremost a poet. This bilingual edition of Selected Poems, edited by Alexander Coleman, gathers together 200 poems from different periods of Borges's life, including some that will be appearing in English for the first time.
Whether he was writing fiction, essays, or poetry, there were certain themes and subjects that Borges returned to time and again. His home town became a favorite topic--in his first collection, Fervor de Buenos Aires, he wrote: "My soul is in the streets / of Buenos Aires," a sentiment that remained constant throughout his life. This collection reveals other preoccupations as well--with history in all its permutations, Borges's own ancestry, and his fascination with metaphysics, mazes, mirror images, and the blurry line between parallel realities:
The celibate white cat surveys himselfThis companion volume to Andrew Hurley's new translation of Collected Fictions boasts a stellar cast of translators, including W.S. Merwin, Mark Strand, and John Updike among others. Admirers of Borges will find Selected Poems a fitting memorial to the great man; and for those have never had the pleasure of reading him before, this book is a wonderful introduction. --Alix Wilber [via]
in the mirror's clear-eyed glass,
not suspecting that the whiteness facing him
and those gold eyes that he's not seen before
in ramblings through the house are his own likeness.
Who is to tell him the cat observing him
is only the mirror's way of dreaming?
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› Find signed collectible books: 'Selected Non-Fictions'
Jorge Luis Borges was our century's greatest miniaturist, perpetually cramming entire universes onto the head of a pin. Yet his splendid economy, along the wafer-thin proportions of such classic volumes as Ficciones and Labyrinths, has given readers the impression that Borges was miserly with his prose. In fact, he was something of a verbal spendthrift. His collected stories alone run to nearly 1,000 pages. And his nonfiction output was even more staggering: the young Borges cranked out hundreds of essays, book notes, cultural polemics, and movie reviews, and even after he lost his sight in 1955, he continued to dictate short pieces by the dozens. Eliot Weinberger has assembled just a fraction of this outpouring in Selected Non-Fictions, and the result is a 559-page Borgesian blowout, in which the Argentinean fabulist takes on being and nothingness, James Joyce and Lana Turner, and (surprisingly) racial hatred and the rise of Nazism. So much for our image of the mandarin bookworm! The very engagé author of this book seems more like a subequatorial Camus, with a dash of Siskel and Ebert on the side.
Selected Non-Fictions demonstrates just how quickly Borges began wrestling with such brainteasers as identity, time, and infinity. Indeed, the very first piece in the collection, "The Nothingness of Personality" (1922), already finds him fiddling with the self: "I, as I write this, am only a certainty that seeks out the words that are most apt to compel your attention. That proposition and a few muscular sensations, and the sight of the limpid branches that the trees place outside my window, constitute my current I." There are many such meditations here, including "A History of Eternity" (in which Borges maps out his own, disarmingly empty version of the eternal, "without a God or even a co-proprietor, and entirely devoid of archetypes"). But it's more fun--and more revelatory--to see the author venturing beyond his metaphysical stomping grounds. Borges on King Kong is a hoot, and a cornball masterpiece such as The Petrified Forest elicits this terrific nugget: "Death works in this film like hypnosis or alcohol: it brings the recesses of the soul into the light of day." His capsule biographies are a delight, his critiques of Nazi propaganda are memorably stringent, and nobody should miss him on the tango. True, the sheer variety and mind-boggling erudition of Selected Non-Fictions can be a little forbidding. But, taken as a whole, the collection surely meets the specifications that Borges laid out in a 1927 essay on literary pleasure: "If only some eternal book existed, primed for our enjoyment and whims, no less inventive in the populous morning as in the secluded night, oriented toward all hours of the world." Oh, but it does. --James Marcus [via]

› Find signed collectible books: 'Seven Nights'
A collection drawn from Jorge Luis Borges' lectures.
The incomparable Borges delivered these seven lectures in Buenos Aires in 1977; attendees were treated to Borges erudition on the following topics: Dantes The Divine Comedy, Nightmares, Thousand and One Dreams, Buddhism, Poetry, The Kabbalah, and Blindness.› Find signed collectible books: 'Siete Noches / Seven Nights'
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› Find signed collectible books: 'A Universal History of Infamy'
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› Find signed collectible books: 'A Universal History of Iniquity'
In his writing, Borges always combined high seriousness with a wicked sense of fun. Here he reveals his delight in re-creating (or making up) colorful stories from the Orient, the Islamic world, and the Wild West, as well as his horrified fascination with knife fights, political and personal betrayal, and bloodthirsty revenge. Sparkling with the sheer exuberant pleasure of story-telling, this collection marked the emergence of an utterly distinctive literary voice.
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› Find signed collectible books: 'El Aleph'
El trabajo que da titulo a Historia de la eternidad se ocupa del tiempo y de su negacion y examina dos concepciones contrapuestas de eternidad: la alejandrina, de raiz platonica, y la cristiana, nacida con la doctrina trinitaria de Ireneo y formalizada por San Agustin. Otras dos penetrantes digresiones estudian la doctrina de Nietzsche sobre el eterno retorno y las concepciones basadas en el caracter recurrente del movimiento historico. El examen de las versiones clÃÂásicas de Las 1001 noches ilustra los condicionamientos culturales e historicos de la labor de traduccion. [via]

› Find signed collectible books: 'Antologia Poetica 1923-1977'
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› Find signed collectible books: 'Biblioteca Personal'
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› Find signed collectible books: 'Borges Y Los Orangutanes Eternos'
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› Find signed collectible books: 'Ficcionario'
Reading Jorge Luis Borges is an experience akin to having the top of one's head removed for repairs. First comes the unfamiliar breeze tickling your cerebral cortex; then disorientation, even mild discomfort; and finally, the sense that the world has been irrevocably altered--and in this case, rendered infinitely more complex. First published in 1945, his Ficciones compressed several centuries' worth of philosophy and poetry into 17 tiny, unclassifiable pieces of prose. He offered up diabolical tigers, imaginary encyclopedias, ontological detective stories, and scholarly commentaries on nonexistent books, and in the process exploded all previous notions of genre. Would any of David Foster Wallace's famous footnotes be possible without Borges? Or, for that matter, the syntactical games of Perec, the metafictional pastiche of Calvino? For good or for ill, the blind Argentinian paved the way for a generation's worth of postmodern monkey business--and fiction will never be simply "fiction" again.
Its enormous influence on writers aside, Ficciones has also--perhaps more importantly--changed the way that we read. Borges's Pierre Menard, for instance, undertakes the most audacious project imaginable: to create not a contemporary version of Cervantes's most famous work but the Quixote itself, word for word. This second text is "verbally identical" to the original, yet, because of its new associations, "infinitely richer"; every time we read, he suggests, we are in effect creating an entirely new text, simply by viewing it through the distorting lens of history. "A book is not an isolated being: it is a relationship, an axis of innumerable relationships," Borges once wrote in an essay about George Bernard Shaw. "All men who repeat one line of Shakespeare are William Shakespeare," he tells us in "Tlön, Uqbar, Orbis Tertius." In this spirit, Borges is not above impersonating, even quoting, himself.
It is hard, exactly, to say what all of this means, at least in any of the usual ways. Borges wrote not with an ideological agenda, but with a kind of radical philosophical playfulness. Labyrinths, libraries, lotteries, doubles, dreams, mirrors, heresiarchs: these are the tokens with which he plays his ontological games. In the end, ideas themselves are less important to him than their aesthetic and imaginative possibilities. Like the idealist philosophers of Tlön, Borges does not "seek for the truth or even for verisimilitude, but rather for the astounding"; for him as for them, "metaphysics is a branch of fantastic literature." --Mary Park [via]
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Reading Jorge Luis Borges is an experience akin to having the top of one's head removed for repairs. First comes the unfamiliar breeze tickling your cerebral cortex; then disorientation, even mild discomfort; and finally, the sense that the world has been irrevocably altered--and in this case, rendered infinitely more complex. First published in 1945, his Ficciones compressed several centuries' worth of philosophy and poetry into 17 tiny, unclassifiable pieces of prose. He offered up diabolical tigers, imaginary encyclopedias, ontological detective stories, and scholarly commentaries on nonexistent books, and in the process exploded all previous notions of genre. Would any of David Foster Wallace's famous footnotes be possible without Borges? Or, for that matter, the syntactical games of Perec, the metafictional pastiche of Calvino? For good or for ill, the blind Argentinian paved the way for a generation's worth of postmodern monkey business--and fiction will never be simply "fiction" again.
Its enormous influence on writers aside, Ficciones has also--perhaps more importantly--changed the way that we read. Borges's Pierre Menard, for instance, undertakes the most audacious project imaginable: to create not a contemporary version of Cervantes's most famous work but the Quixote itself, word for word. This second text is "verbally identical" to the original, yet, because of its new associations, "infinitely richer"; every time we read, he suggests, we are in effect creating an entirely new text, simply by viewing it through the distorting lens of history. "A book is not an isolated being: it is a relationship, an axis of innumerable relationships," Borges once wrote in an essay about George Bernard Shaw. "All men who repeat one line of Shakespeare are William Shakespeare," he tells us in "Tlön, Uqbar, Orbis Tertius." In this spirit, Borges is not above impersonating, even quoting, himself.
It is hard, exactly, to say what all of this means, at least in any of the usual ways. Borges wrote not with an ideological agenda, but with a kind of radical philosophical playfulness. Labyrinths, libraries, lotteries, doubles, dreams, mirrors, heresiarchs: these are the tokens with which he plays his ontological games. In the end, ideas themselves are less important to him than their aesthetic and imaginative possibilities. Like the idealist philosophers of Tlön, Borges does not "seek for the truth or even for verisimilitude, but rather for the astounding"; for him as for them, "metaphysics is a branch of fantastic literature." --Mary Park [via]
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«En aquel momento sentí que algo estaba ocurriéndonos o, mejor dicho, que ya había ocurrido. De algún modo ya éramos otros.»>
Gran parte de estos cuentos giran en torno al cumplimiento de un destino que se repite y que suele prefigurar un enfrentamiento. A veces los protagonistas son los hombres, como en «El otro duelo» o «Guayaquil»; otras son sus armas: dos cuchillos que se buscan largamente hasta por fin encontrarse y pelear. También puede ocurrir, como en «Historia de Rosendo Juárez», que en ese enfrentamiento uno se convierta en espejo del otro, uno sea él mismo y su enemigo. O que, como le sucede a Brodie, el otro le produzca horror y fascinación. Once relatos en los que el autor dice haber encontrado su verdadera voz: «La ya avanzada edad me ha enseñado la resignación de ser Borges».
Jorge Luis Borges> (Buenos Aires, 1899 - Ginebra, 1986) es uno de los mayores escritores de habla hispana. Publicó libros de poesía, ensayo y cuentos, por los cuales ha obtenido renombre en todo el mundo. Recibió distinciones de universidades y gobiernos extranjeros y numerosos premios, entre los que se destaca el Cervantes en 1980.
[via]
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EN ESPANOL. In Spanish. Book Description: Barcelona, Emecé Editores/Alianza Editorial (El Libro de Bolsillo, 32w0), 1984 (12th printing). Binding is Paperback. Unites two Borges titles (with some modifications): "El Jardín de los Senderos que se Bifurcan" (1941) and "Artificios" (1944) 206p. [via]
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Ciento dieciseis seres imaginarios pueblan las paginas de este libro. Jorge Luis Borges los ha hecho venir de todos los rincones del mundo y la Mitología.¿ Pero, hasta donde son realmente imaginarios? Mística, metafísica, poesía, viejos relatos y realidades. [via]
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Ciento dieciseis seres imaginarios pueblan las paginas de este libro. Jorge Luis Borges los ha hecho venir de todos los rincones del mundo y la Mitología.¿ Pero, hasta donde son realmente imaginarios? Mística, metafísica, poesía, viejos relatos y realidades. [via]
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