The Book of Sand by Jorge Luis Borges (1975)

The 1977 Penguin paperback edition of The Book of Sand is in two parts. Part one consists of a baker’s dozen of late short stories which take up 90 pages. Part two contains 35 poems taken from two of Borges’s final volumes of poetry, The Gold of the Tigers and The Unending Rose, presented in the original Spanish with English translations by the Scottish poet Alastair Reid on the facing page, and also taking up about 90 pages.

There’s an author’s note and an afterword. In the author’s note Borges reaffirms his allegiance to H.G. Wells, often overlooked by literary studies but clearly one of the most fertile, imaginative and influential writers of the first half of the twentieth century.

I have tried to be faithful to the example of H. G. Wells in combining a plain and at times almost colloquial style with a fantastic plot.

In the event, some of the premises of the stories may be fantastical, but they are all conveyed in such a low-key, downbeat, almost offhand manner that you barely notice. The stories don’t signpost their own remarkableness, they downplay it. The stories feel different from those in Dr Brodie’s Report, more consistently fantastical or imaginative than the determinedly realistic narratives in that collection – but both books have more in common and are very different from the intensely bookish ficciones of his Labyrinths phase. Any reader hoping for more ficciones will be sorely disappointed but will, if they allow their expectations to be reshaped by the texts, be rewarded by subtler, more fleeting pleasures.

The stories

1. The Other (location: Cambridge, Massachusetts)

A very relaxed, low key story in which Borges quietly remembers going to sit on a bench in Cambridge Massachusetts overlooking the Charles River and realising the young fellow who’s sitting at the other end of the bench is his own self, 50 years earlier. The young self thinks he is sitting on a bench in Geneva overlooking the river Rhone. Old Borges chats a bit about what’s happened to mum and dad, then when young Borges reveals the book in his hand is by Dostoyevsky, they fall to chatting about literature, as you do, quoting Victor Hugo and Whitman.

Beneath our conversation about people and random reading and our different tastes, I realized that we were unable to understand each other. We were too similar and too unalike. We were unable to take each other in, which makes conversation difficult. Each of us was a caricature copy of the other. The situation was too abnormal to last much longer…

Neither is terrified, but both afflicted with unease, and so hasten to make their excuses, say goodbye, promise to meet up the next day, and walk briskly away with no intention of keeping the rendezvous.

You know the big difference between this and a story by H.G. Wells. This one has no excitement. It is a teasing situation, but with no development or payoff. In fact it just dribbles to a close.

2. Ulrikke (York, England)

The narrator is named Javier Otálora. He is a professor at the University of the Andes. He is visiting York (in England) when he hears a pretty young woman talking in the hotel bar, gets chatting to her, they go for a walk across the freshly fallen snow which becomes steadily more archetypal or allegorical. There are no cars or roads, just them alone in the deep woods. They hear a wolf howl, she kisses him, they invoke the shades of Sigurd and Brynhilde, they arrive at another inn, climb as in a dream up the stairs to a bed where they make love. I think it is a waking dream. I think the author has been beguiled into some kind of re-enactment of the Sigurd and Brnyhilde legend.

3. The Congress (Argentina, 1902)

Don Alejandro Glencoe was a Uruguayan ranch owner and landowner. At one time he had ambitions to stand for the Uruguayan Congress but the political bosses barred  his way. And so, inspired by something he’d read, he decided to set up a Universal Congress, representing all people, representing all humanity. He starts the process by inviting an assortment of 20 or so people to meet regularly at the Gas-Lamp Coffee House in Buenos Aires, trying to ensure a cross-selection, including women and gauchos and blacks. The narrator is Alejandro Ferri and we follow as he is, first, told about the Congress, then taken along, then becomes an active participant, travelling to England on research into ways to expand it and into which books to order to create a definitive library for the Congress.

Soon after his return, in what one could possibly take to be a typically quixotic, random, Hispanic gesture, Don Alejandro scraps his own creation and abolishes the Congress, insisting the members take the library of (rather random) books they have painstakingly assembled and burning them in the street. The members go on to have a wild, intoxicating night together, then part, never to see each other, but convinced by Don Alejandro’s exhortation that the Congress is not dead; on the contrary, it has now become universal and all men and women are members of it, even if they don’t know it. All this happened between 1899, when the narrator arrived in Buenos Aires, and 1902, when he undertook his ill-fated journey to a snowbound London.

The best of Borges’s ficciones left you with your mind completely blown by the intensity and profundity of the ideas and visions he conjured up. These stories are much more ‘meh’. This is the longest of all Borges’s works of fiction and, after this volume was published, he claimed it was his favourite. Meh.

4. There Are More Things (Buenos Aires)

A deliberately hammy hommage to the lurid horror stories of H.P. Lovecraft, this one concerns a young student just finishing his studies. He had an uncle who had a house built in a suburb of Buenos Aires. The narrator gets news that his uncle has, sadly, died and then follows from a distance the subsequent developments, namely that the house is sold to a mysterious man who asks the original architect to build new extensions, which the architect indignantly refuses to do. After a few more investigations, the narrator one night, min a heavy storm, finds himself at the gate of the mysterious house, finds himself pushing open the gate, walking up the path, pushing open the front door and investigating the apparently empty and abandoned house and discovering it full of artefacts which make no sense, which don’t seem to have been designed for the human body or purposes… and while he is slowly coming down the stepladder from the attic, he hears the sound of ‘slow and oppressive and twofold’ coming up the ramp into the house…

5. The Sect of the Thirty (4th century Mediterranean)

A fairly brief account which purports to be a manuscript from the fourth century AD describing a Christian heresy, dwelling on the origin of the number 30 before going on to consider the drama of the Crucifixion and to identify ‘intentional’ and ‘unintentional’ actors in it, concluding that there were only 2 intentional ones, namely Jesus and Judas. So the ‘Sect of the Thirty’ takes its name from the thirty pieces of silver which Jesus gave Judas.

This echoes the ficcione ‘Three Versions of Judas’ in which a renegade theologian develops the idea that the real Son of God was Judas, for whereas Jesus was resurrected and went to heaven after a few hours suffering, Judas made the ultimate sacrifice and condemned himself to everlasting hell.

6. The Night of the Gifts (1874 Argentina)

Many years ago in the old Confitería del Águila on Florida Street up around Piedad, a group of men are gathered and having an earnest discussion about Plato’s theory of knowledge (which is that we already know everything but have forgotten it, so that ‘learning’ is merely remembering) when an older man interjects with a long and complicated story.

It is the story of the most memorable night of his life, the night of the thirtieth of April 1874,when he was little more than a boy, he was staying on the ranch of some cousins, and met Rufino, a seasoned cowhand. One night Rufino takes him into town to a brothel down a dirty back alley. The narrator is a bit overwhelmed. When confident Rufino sees him looking at a younger, shy woman, Rufino asks her to tell her tale. In a dreamy voice, the young woman, nicknamed The Captive, begins to tell the story about the time the Indians raided her ranch and took her away, but she’s barely got as far as the Indians riding towards her when the door bursts open and real-life bandits enter, led by the notorious outlaw Juan Moreira! He starts causing a lot of noise and when the little house doggy approaches, whips him so hard the dog dies there and then.

Terrified, in all the brawling, the boy narrator slips down a hallway, finds a secret stairwell and goes upstairs, into a room and hides there. It is, unsurprisingly, the room of The Captive, who quietly comes in, closes the door, slips off her clothes and makes him lie with her. It’s not described but the implication is that he loses his virginity.

But then there’s a lot more banging and a gunshot and the Captive tells our narrator to leave by the back stairs. He does so, nips across the garden and shimmies over the wall. He comes face to face with a policeman who grins and lets him go, but as he loiters, the famous outlaw Moreira slips over the same wall, presumably escaping the cops who’ve gone in the front, and the policeman steps forward and bayonets Moreira. And again. While the horrified boy looks on

Then we snap back to the ‘present’ and the now-old man reflecting on his story, that he experienced two of the Great Experiences of Life in the same night, losing his virginity and seeing a man killed in front of him.

7. The Mirror and the Mask (medieval Ireland)

After the battle of Clontarf on 23 April 1014, in which he had defeated a Norse-Irish coalition, the High King of Ireland orders his chief bard, Ollan, to commemorate it in heroic verse. The story quickly becomes a kind of fairy tale, for it is structured round three magical events. The king gives his bard a year to go to England, travel widely, and compose a great poem. A year later he returns, and amid great ceremony, recites the poem, which is a masterpiece, which repeats and supersedes all the conventions of his forebears. The king rewards him with a silver mirror.

Then the poet goes off to England for another year, sees and hears many things, returns and this time reads from a manuscript, a poem which is much stranger, in form and substance, combining the Christian Trinity with the pagan gods, in which subject and verbs and nouns do not agree but present strange new combinations. Dazzled, the king says that only the learned can understand so strange a composition and that he will store the manuscript in an ivory casket and he gives the poet a golden mask.

After another year the poet arrives at the king’s court but he is a man transfigured, ‘His eyes seemed to stare into the distance or to be blind.’ This time the man asks to see the king alone and laments that the has produced the finest poem yet but wishes the Lord had prevented it. He asks for the hall to be emptied and then recites the poem which consists of just one line, but which is so transcendent, so numinous that both king and bard are shaken to their core, both wondering whether knowing such Beauty is a sin.

‘The sin of having known Beauty, which is a gift forbidden to men. Now it behoves us to expiate it. I gave you a mirror and a golden mask; here is my third present, which will be the last.’ In the bard’s right hand he placed a dagger. Of the poet, we know that he killed himself upon leaving the palace; of the king, that he is a beggar wandering the length and breadth of Ireland – which was once his kingdom – and that he has never repeated the poem.

It is a deep and powerful fable.

8. Undr (11th century Sweden)

This short text is pleasurably complicated, working at multiple removes in narrator and time and place. First of all it claims, in the time-honoured way, to be a transcription of a fragment of manuscript found in a dusty old volume in a library, namely an account by of Adam of Bremen, who, ‘as everyone knows’, was born and died in the eleventh century, and it starts off by being an account of what he has discovered about a people named the Urns, who live in Scandinavia.

But barely a page has gone by before Adam brings in a specific character, a traveller from Iceland named Ulf Sigurdsson. Adam claims to have met him at Uppsala, by the famous pagan temple there, where Ulf tells him his story. So now we have three layers of text:

  1. the introductory paragraph explaining this is all a manuscript in an old book
  2. the text itself describing Adam’s journeys into Sweden
  3. the narrative of Ulf

Ulf explains that he was a skald or poet from Iceland and had travelled to Sweden because he had heard that the Urns create poems with just one word. He meets a blacksmith who prepares him to be taken before the king of the Urns, Gunnlaug, in readiness for which Ulf composes a drapa, an elaborate genre of Icelandic poetry. However, when he performs it for the king, although the latter gives him a silver ring, his place is soon taken by a local poet who strikes his lyre and recites a poem which consists of just one word and everyone is much moved.

On leaving the king’s cabin, Ulf is accosted by a fellow poet, Bjarni Thorkelsson, who confirms that the old tropes Ulf used have been superseded and tells him his life is in danger. Together they conspire to get Ulf onto a boat which heads south.

At this point follows a brief summary of the rest of Ulf’s life, which was action-packed and included being an oarsman, a slave dealer, a slave, a woodcutter, a highwayman, a singer, a taster of deep waters and metals, spending a year in the quicksilver mines, fighting in the Varangian guard at Constantinople, having a big love affair with a woman by Sea of Azov, fighting a duel with a Greek, fighting the Blue Men of Serkland, the Saracens.

At the end of this long life, Ulf is a tired old man who makes his way back to the land of the Urns and, after some difficulty, finds the house of the fellow skald who saved him, Bjarni Thorkelsson. Bjarni is bed-ridden and insists on hearing Ulf’s entire life story. As a reward he takes up his harp and speaks the one Word, undr, which means ‘wonder’. The wonder of the world, and finally he understands.

With that the text ends. It does not go back up a level to Adam’s narrative, or up two levels to the original framing modern explanation. It deliberately ends on this symbolic note.

In the afterword Borges points out that one of his most famous ficciones is about an infinite library which contains every combination of every letter in every language ever conceived by man. This is the opposite, a story about just one word, which manages to capture the entire life of a culture.

9. A Weary Man’s Utopia (centuries in the future)

Some kind of vision or maybe dream. The narrator identifies himself as Eudoro Acevedo, born in 1897 in the city of Buenos Aires, 70 years old, a professor of English and American literatures and a writer of imaginative tales i.e. an avatar of Borges himself.

He is walking over a plain in the rain and sees the lights of a house and walks over to it and the door is opened by a tall man who invites him in and signals straight away that he has entered a different century, apparently in the future when other languages have fallen into desuetude and educated people speak Latin. The host is very relaxed and says they receive visitors from the past ‘from century to century’.

In this future the people are taught to forget history and culture and to rise above the present, to live in all time. He is four centuries old and has only read half a dozen books. Printing has been abolished. For his part the narrator explains that in his world, there were newspapers which made a big fuss about the latest news, a continuous turnover of trivia, plus advertising for a thousand and one products no-one needs. To fully exist you needed to be photographed.

Whereas in this future nobody has possessions, there is no money. People study philosophy or play chess. They are free to kill themselves. Everyone must sire one child but this means the human race is slowly dying out. Politics has ceased to exist because nobody paid any attention. He spends his time painting, he shows the narrator some of his paintings and gives him one as a gift.

Then a woman and three or four men enter the house peacefully and they work with the owner to dismantle all the belongings and then carry them through the streets to a crematorium where they burn all his belongings. The scene cuts back to the ‘present’ where the narrator is writing this text,

In my study on Mexico Street, in Buenos Aires, I have the canvas that someone will paint, thousands of years from now, with substances today scattered over the whole planet.

There is no drama and barely any plot. Instead it is a thing of changing moods and angles.

10. The Bribe (Texas 1969)

As the narrator admits at the outset this is more of an anecdote than a story. It concerns three American academics who are all specialists in Anglo-Saxon literature. It takes quite a while to explain because it is about a subtle psychological point which requires an explanation of the ‘politics’ in the English Department at the University of Texas.

A key figure in the department is the upright scion of a New England family Dr Ezra Winthrop. He has been helped in his editing of Anglo-Saxon texts by the able scholar Herbert Locke. A conference is coming up, in Wisconsin. Winthrop is advising the head of the department, Lee Rosenthal, who to send.

Recently the department has been joined by a naturalised American of Icelandic descent named Eric Einarsson. The text describes a series of publications he’s made, starting with a new edition of the Anglo-Saxon poem The Battle of Maldon (which I have reviewed in this blog) then, only a few weeks before the conference, he publishes a long article in the Yale Philological Quarterly. The aim of the article is to attack the way Anglo-Saxon is taught in the department, which mainly focuses on Beowulf (which I have reviewed in this blog) which the article considers too long, confused but above all too refined and baroque a production to teach beginners.

Partly as a result of the article, Winthrop advises Rosenthal to choose Einarsson to represent the department at the forthcoming conference, rather than the loyal capable Locke. The story such as it is, boils down to the final and only real scene in the text, wherein Einarsson drops into Winthrop’s office to thank him for helping choose him to attend the conference – and then candidly lets Winthrop know how he engineered the decision. When he first met him, Einarsson was surprised that Winthrop, despite being a principled Northern, defended the South’s right to secede from the Union in the American civil war. Einarsson realised in a flash that Winthrop’s rigid Puritan morality made him bend over backwards to see the opposing point of view.

That is why he wrote a long article criticising the way the department teaches Anglo-Saxon. It was reverse psychology. He knew that Winthrop would bend over backwards to be fair so someone who had just attacked him, and choose Einarsson over loyal Locke. And that is just what happened. Low-key, eh? Subtle.

11. Avelino Arredondo (Montivideo 1897)

A peculiar story set in Montevideo, the capital of Uruguay, in 1897 during the civil war which ravaged the country. It tells of a man from the country, Avelino Arredondo, a little over 20, thin, shortish, poor. He is a part of a group of young men who meet at the Café del Globo. One day he tells them he is going away. He kisses goodbye to his girlfriend, Clementina, adieu to his friends, but instead of setting off to a distant town as he told everyone, he holes up in his little apartment, never going out or reading the papers, attended by an ancient servant who brings him his meals. All is aimed towards the morning of the twenty-fifth of August, which is months away and, because this date is mentioned several times, the reader naturally wonders what might happen. Because the slow passage of time and in fact the change in the subjective experience of time is mentioned several times, we wonder if this is a science fiction story and some fabulous transformation will take place.

Alas, no. Arrendondo wakes on the morning of 25 August, dresses, breakfast, then makes his way to the cathedral square just as a group of dignitaries are leaving morning Mass. He asks a bystander to point out the president of this wartorn country, Juan Idiarte Borda, then pulls out a revolver and shoots him dead. He belongs to the other side in the civil war (the Whites against the Reds). At his trial he is careful to emphasise that he has lived isolated from the world for months, having said goodbye to his girlfriends, all his acquaintances and not read a newspaper for months – all the more to bring out that this was an entirely existential decision by he and he alone.

12. The Disk (Anglo-Saxon England)

A wonderfully short and strange story. The narrator is a poor woodcutter. A stranger turns up at his hut. He gives him food and shelter. Next morning they go for a walk. When the stranger drops his staff he orders the woodcutter to pick it up. ‘Why?’ asks the woodcutter. ‘Because I am king,’ says the stranger, ‘I am of the line of Odin’. The woodcutter replies he is a Christian. The slightly mad old king says he can prove he is king by showing him the thing in his hand. He opens his fist. There is nothing there, but when the woodcutter tentatively puts out his finger he feels something cold and sees a glitter in the sunshine.

Here is the one spooky eerie detail which makes the whole thing cohere. The king tells him it is Odin’s disk and it has only one side. In all the world there is nothing else with only one side.

13. The Book of Sand

The narrator suffers from myopia, lives in a flat by himself. A tall stranger knocks on the door, he lets him in. He says he is from the Orkney Islands. He says he sells Bibles, The narrator replies that he already owns several English translations of the Bible (as you might expect). Then the salesman opens his case and gets out another book. He bought it off an illiterate Untouchable in India. It is called the Book of Sand because, like the desert, it has no end.

No matter where he opens it there seem to be more pages at the front and back. The pages bear fantastically large page numbers and it is impossible to find one again. They haggle about a price and the salesman parts with it for a monthly pension payment and the black letter Wycliff Bible, packs his case and leaves.

Only then are we treated to the slow possession the infinite book begins to exert over its owner. He stops going out, he devotes his life to trying to tabulate the content of the infinite book, he becomes paranoid, he hides is behind other volumes on his shelves, but he begins to realise it is driving him mad, he realises the bookseller came to him willing to get rid of it at almost any price.

One day he takes it along to the National Library (which Borges himself was Director of), slips past the staff, down into the dusty basement, and without paying too much attention to the rack or shelf or position slips it in among thousand of other anonymous volumes and quickly departs, as if from the scene of a crime.

Late style

Writers who live long enough often develop a recognisably late style. In these late stories Borges is closer to the ficciones of Labyrinths than he was in Dr Brodie’s Report – for a start they’re not all set in contemporary Argentina as most of those stories were; many return to the European settings or to the remote times and places of the ficciones, although he appears to show a fondness for rugged medieval pagan Europe more than the flashy worlds of Islam and China which attracted him in the ficciones. I know what he means. There’s something more genuinely weird and eerie and rebarbative about hearing one wolf howl in the great snowy Northern forests, than there is in seeing a thousand geniis pop out of a bottle or all the dragons of Chinese legend.

But it’s not so much the subject matter, it’s the treatment. The tales are more elliptical and elusive. Borges’s late style has learned to eschew flashy effects for something more subtle and lateral. I liked Ulrikke, The Mirror, Undr, A Weary Man because the inconsequentiality of the dream subject matter matches the flat obliquity of the style.

Is it the wisdom of age or the tiredness of age or the indifference of age? Or is it the result of Borges’s blindness? He never learned braille and dictated all his later works, having them read back to him and correcting them orally, a completely different method of composition from seeing the words you write, and re-seeing them, and seeing them again as you review over and over what you have written to give it not only a rhetorical flow but a visual styling, on the page. None of that here. All of that dense reworking, the temptation to be ‘baroque’, had departed along with his sight.

Was it all or any or a combination of these factors, or just a realisation that, after the metaphysical pyrotechnics of ficciones, it was on many levels more satisfying to play a subtler game, to create not the vaunting elephants and leaping tigers of a Salvador Dali painting, but the subtle understatement of a miniaturist. In the afterword Borges describes A Weary Man’s Utopia as the most ‘honest’ of the stories. In it the exhausted and ancient man of the future devotes his life to painting what appear to be modest, not very dramatic, and semi-abstract works.

I examined the canvases, stopping before the smallest one, which represented, or suggested, a sunset and which encompassed something infinite. ‘If you like it, you can have it as a keepsake of a future friend,’ he said matter-of-factly. I thanked him, but there were a few canvases that left me uneasy. I won’t say that they were blank, but they were nearly so.

Maybe that is an apt description of these stories, products of an old man, far advanced in his chosen craft, indifferent to praise or blame, making them for his own amusement, no longer impressed by the flashy effects of youth and middle age. Lucid and reflective.

I won’t say that they were blank, but they were nearly so.

Nearly… but not quite.


Related link

Borges reviews

Labyrinths by Jorge Luis Borges (1962)

The metaphysicians of Tlön do not seek for the truth or even for verisimilitude, but rather for the astounding.

There is no pleasure more complex than that of thought.

In the course of a life dedicated to letters and (at times) to metaphysical perplexity…

Borges wrote a surprising amount (some 70 books in Spanish) and yet he is principally known in the Anglo-Saxon world for just one work published 60 years ago, Labyrinths, a breath-taking collection of 40 mind-bending short stories, short essays, and ‘parables’, all of which reference, quote and play with a multitude of obscure and arcane texts and ideas derived from philosophy, theology and mysticism.

Penguin went on to publish a flotilla of four or five other volumes by Borges, but none of them hold a candle to Labyrinths which is one of the most important volumes of short stories in English in the second half of the 20th century. It is a scandal that, to this day, only a fraction of Borges’s output has been translated into English.

Adventures among books and ideas

Labyrinths consists of 23 ficciones, ten essays and eight ‘parables’. All the stories were written and first published in Borges’s native Spanish in Argentine literary magazines between 1941 and 1956. The first 13 stories are taken from a previous collection, Ficciones, published in 1945, which was expanded in successive editions, and the remaining ten were published in a collection titled The Aleph, published in 1949, and also added to in later editions. That’s a long time ago but when you look at individual stories it’s striking to see that most of them were first published in literary magazines much earlier, most of them at the very end of the 1930s, during the Second World War and in the immediate post-war years. Although he carried on writing into the 1980s, his greatest hits were composed in the 1940s.

Before I exhaust myself giving brief summaries of each of the pieces, let me make a simple point which is that, rereading Borges’s stories made me realise that possibly his major discovery was that, for the purposes of writing a short fiction, you can replace plot with ideas.

What I mean is that the best stories discuss philosophical and metaphysical or mystical ideas and, in doing so, refer to scores of obscure Latin and Greek, or Christian or Islamic texts and sources – and that it is this, rather than plots, character or dialogue, which fills his stories.

Most adventures are, almost by definition, about people, about named characters. Borges’s short fictions are adventures whose protagonists are ideas, ideas characterised by their multi-layered bookishness and whose explanation requires multiple references to all manner of arcane texts – and whose ‘adventure’ consists in the logical unfolding of far-fetched premises to even more-mind-boggling conclusions: such as the man who discovers he is a dream created by someone else; or that the entire universe is made up of an infinite library; or that all human activity is determined by a secret lottery; and so on.

It is immensely characteristic of this preference for ideas over psychology or emotions or feelings that, when the narrator of Tlön, Uqbar, Orbis Tertius stumbles across an encyclopedia purporting to catalogue the fictitious planet of Tlön, he experiences a moment of delirious happiness i.e. emotion, feeling – but quickly stifles it:

I began to leaf through [the encyclopedia] and experienced an astonished and airy feeling of vertigo which I shall not describe, for this is not the story of my emotions but of Uqbar and Tlön and Orbis Tertius.

In fact various emotions do occur in the stories, there are characters and events, but this moment can stand as a symbol of the way that fiction’s traditional concerns for character and emotion and plot are, on the whole, in Borges’s stories, repressed or sidelined in order to make way for the adventures of ideas and books.

Borges’s bookishness is not for everyone

And I suppose there’s a point that’s so obvious that it’s easy to miss which is that you have to be fairly learnèd and scholarly, or at least fairly well-read, in order to really enjoy these works. On the first page alone of Deutsches Requiem Borges mentions Brahms and Schopenhauer and Shakespeare and Nietzsche and Spengler and Goethe and Lucretius. Now I not only know who these guys all are, but I have read some or much of all of them (a lot of Shakespeare and Nietszche, a book of Schopenhauer’s, some Goethe and Spengler) and so the mental edifice which invoking their names creates, the structure and framework of the story, are all entirely familiar to me and so I can enjoy how Borges plays with their names and references.

But I suppose there will be many readers who haven’t read (or listened to, in the case of Brahms) these authors and composers, and so might have to stop and Google each of them and, I suppose, this might well put off a lot of potential readers. It’s not that the stories are intrinsically ‘difficult’ (though sometimes they juggle with ideas on the edge of comprehension) so much as that the entire atmosphere of intense bookishness and scholarly whimsy which they evoke might well deter as many unbookish readers as it fanatically attracts fans and devotees among the literary-minded.

Contents – Fictions

Tlön, Uqbar, Orbis Tertius (1940)

Uqbar is a mythical land which the narrator and friends find mentioned in a ‘pirated’ edition of Volume XLVI of the Anglo-American Cyclopaedia, but can find referred to nowhere else, despite ransacking the reference books of numerous libraries. The article explains that the literature of Uqbar was one of fantasy, featuring epics and legends set in two imaginary regions, Mlejnas and Tlön. In part 2 of the story we learn that Tlön is less an imaginary realm than an entire ‘planet’.

At first it was believed that Tlön was a mere chaos, an irresponsible license of the imagination; now it is known that it is a cosmos and that the intimate laws which govern it have been formulated, at least provisionally

Once he has posited the existence of this ‘planet’, the narrator goes on to recount the dizzying nature of its language and its many schools of philosophy:

  • one of the schools of Tlön goes so far as to negate time: it reasons that the present is indefinite, that the future has no reality other than as a present hope, that the past has no reality other than as a present memory
  • another school declares that all time has already transpired and that our life is only the crepuscular and no
    doubt falsified and mutilated memory or reflection of an irrecoverable process
  • another, that the history of the universe — and in it our lives and the most tenuous detail of our lives — is the scripture produced by a subordinate god in order to communicate with a demon
  • another, that the universe is comparable to those cryptographs in which not all the symbols are valid and that only what happens every three hundred nights is true
  • another, that while we sleep here, we are awake elsewhere and that in this way every man is two men

This is what makes Borges’s stories so phenomenally packed and mind-bending: that each individual sentence is capable of introducing to an entirely new way of thinking about the world.

The postscript to the story describes the narrator stumbling on a letter which purports to summarise the process whereby magi in the early 17th century decided to invent a country, how the idea was handed down as the texts proliferate, till an early Victorian American decided they needed to be more ambitious and describe an entire planet. In 1914 the last volume of a projected 40-volume encyclopedia of Tlön was distributed to the cabal of experts. It is estimated it will become the Greatest Work of Mankind, but it was decided this vast undertaking would itself be the basis of an even more detailed account which was provisionally titled the Orbus Tertius. Slowly, the narrator claims, mysterious objects from Tlön have appeared in our world. This last part is set two years in the future and describes a world in which news of Tlön has become widespread and artefacts from the imaginary planet are appearing all over the world and beginning to replace our own.

The contact and the habit of Tlön have disintegrated this world…Already the schools have been invaded by the (conjectural) “primitive language” of Tlön; already the teaching of its harmonious history (filled with moving episodes) has wiped out the one which governed in my childhood; already a fictitious past occupies in our memories the place of another, a past of which we know nothing with certainty — not even that it is false… A scattered dynasty of solitary men has changed the face of the world. Their task continues. If our forecasts are not in error, a hundred years from now someone will discover the hundred volumes of the Second Encyclopedia of Tlön. Then English and French and mere Spanish will disappear from the globe. The world will be Tlön.

So it is, on a fairly obvious level, a kind of science fiction disaster story in which our world will eventually be taken over and/or destroyed by the imaginary creation of the cabal.

The Garden of Forking Paths (1941)

A story which opens with a book and is about a book. Its first sentence is:

On page 22 of Liddell Hart’s History of World War I you will read that an attack against the Serre-Montauban line by thirteen British divisions (supported by 1,400 artillery pieces), planned for the 24th of July, 1916, had to be postponed until the morning of the 29th….

The story is the account of Dr. Yu Tsun, former professor of English at the Hochschule at Tsingtao, a spy acting for the Germans, based in England, in Staffordshire, but is rumbled by a British officer, Captain Madden, so makes his way by train to the village of Ashgrove and the house of one Dr Stephen Albert, who describes the efforts of Yu’s ancestor, ‘Ts’ui Pên who was governor of Yunnan and who renounced worldly power in order to write a novel that might be even more populous than the Hung Lu Meng and to construct a labyrinth in which all men would become lost’. The story reveals that this labyrinth is metaphorical: it actually stands for the scattered manuscript of an incomplete book. The garden of forking paths is the novel promised by never completed. But the nature of the fragments is deliberate:

The Garden of Forking Paths is an incomplete, but not false, image of the universe as Ts’ui Pên conceived it. In contrast to Newton and Schopenhauer, your ancestor did not believe in a uniform, absolute time. He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time.

So it’s about a book which encompasses all time, and all possible permutations of time.

The Lottery in Babylon (1941)

Tells the story of the development of a hyper-complex lottery run by the all-powerful ‘Company’ in a fictional version of ‘Babylon’, which ends up becoming the basis for everything which happens, for every event in everybody’s lives.

Pierre Menard, Author of the Quixote (1939)

This purports to be a brief article by a follower of the now deceased writer Pierre Menard. It starts by listing the complete works of the defunct writer, some 19 in all, thus establishing the hyper-bookish context; then goes on to describe the unprecedented attempt by Pierre Menard to rewrite (sections of) Don Quixote as if by himself, as if for the first time, as if written by a 20th century author, and the complexity and strangeness of the result.

The Circular Ruins (1940)

The unnamed man arrives in a canoe from the south, beaches it in the mud and climbs to the ancient ruins.

The purpose which guided him was not impossible, though it was supernatural. He wanted to dream a man: he wanted to dream him with minute integrity and insert him into reality

He devotes years to dreaming, piece by piece, a perfect young man, who he then teaches in his dreams and who then finally becomes a real entity in the real world, who can pass painlessly though fire. But when a forest fire rages towards the ruins where he has been living the man walks boldly towards them – only not to feel a thing and to realise, that he himself is a dream-man who has been dreamed, in his turn, by someone else.

The Library of Babel (1941)

The narrator lives inside a library so huge, made up of infinite levels and extending through infinite galleries of hexagonal rooms, that he and all the other inhabitants regard it as the known universe. From this perspective, of an inhabitant of the infinite library, he shares with us the discoveries and/or theories of various other inhabitants who, through the centuries, have explored deeper into the infinite library, made discoveries and come up with theories as to its origin and purpose, for example the theories of the idealists (‘the hexagonal rooms are a necessary form of absolute space’) or the mystics (‘The mystics claim that their ecstasy reveals to them a circular chamber containing a great circular book, whose spine is continuous and which follows the complete circle of the walls’) origin stories (‘Man, the imperfect librarian, may be the product of chance or of malevolent demiurgi’), those who have given up trying to find meaning (‘I know of an uncouth region whose librarians repudiate the vain and superstitious custom of finding a meaning in books and equate it with that of finding a meaning in dreams or in the chaotic lines of one’s palm’).

Five hundred years before his birth the momentous discovery was made that the library contains all possible combinations of their language’s 25 symbols, in other words, contains all human knowledge, and much more, contains the history and future of everyone. This led to a wave of optimism and pride. This gave rise to a category of men named inquisitors who travel far and wide in search of these phantom volumes which will explain everything, and are named the Vindications. This was followed by the depressing realisation that, although these books certainly exist, in a library infinitely large anyone’s chances of finding them are infinitely small. Which gave rise to a semi-religious movement of nihilists, the Purifiers, who set out to examine and destroy all books which are not Vindications. But even their senseless destruction of millions of books made little difference in a library which is infinite in size.

The knowledge that everything has already been written has had a negative effect. Some have become religious hysterics. Suicides have become more common. The population of the hexagonal rooms has been depleted. He wonders whether the human species will be extinguished.

Funes the Memorious (1942)

Ireneo Funes was a dark, Indian-looking man from Uruguay. He died in 1889. The author of this piece is contributing a memoir of him to a volume to be published in his honour. Funes was a perfectly ordinary young man till a horse threw him aged 19. From that point onwards, he remembers everything which happens to him, every single impression, sight, sound and smell which his senses register, is recorded in the fine instrument of his memmory.

The two projects I have indicated (an infinite vocabulary for the natural series of numbers, a useless mental catalogue of all the images of his memory) combine in this dazzling idea. Not just memory, he notices everything.

He was the solitary and lucid spectator of a multiform, instantaneous and almost intolerably precise world

And the ‘story’, really an essay based on a fictional premise, explores what it would mean to live in this state.

To think is to forget differences, generalize, make abstractions. In the teeming world of Funes, there were only details, almost immediate in their presence.

The Shape of the Sword (1942)

Not a bookish brain-teaser, this is a much more straightforward story. The narrator, who is referred to as Borges, is forced when travelling in the North to stay in the house of a man who has a reputation as a martinet and occasional drunk who is disfigured by a half-moon-shaped scar on his forehead. The man treats Borges to dinner then they get talking and finally the man tells him his story: how he was a fighter with the IRA during the Irish Civil War, and helped mentor and protect a vehement young recruit, one John Vincent Moon, a committed communist who shut down every discussion with his fervent ideology. On a patrol they were caught by a guard who shot and nicked Moon’s shoulder. They break into the abandoned house of an old Indian officer, to hide out. When the town they were hiding in was taken by the Black and Tans, he returned to the house to overhear Moon betraying him to the authorities on the promise of his own safe passage, whereupon he chased Moon round the house brandishing one of the swords belonging to its absent owner until he caught him and branded his face with the half moon with a sword.

All through the story you’d been led to believe the narrator was the strong man. Only at the end does he break down and confess that it was he who was the betraying coward, John Vincent Moon. And hence the scar cut into his face.

Theme of the Traitor and the Hero (1944)

A very short story which foregrounds its own fictiveness, as Borges admits it’s an idea for a story which could be set anywhere, then arbitrarily settles on Ireland where, he says, a man named Ryan is researching the famous assassination of an eminent Irish patriot, his great-grandfather, Fergus Kilpatrick, in a theatre in 1824. His researches show him that Kilpatrick’s assassination shared many details with that of Julius Caesar, the parallels so eerie that for a while he develops a theory of ‘the existence of a secret form of time, a pattern of repeated lines’, and invokes the theories of Condorcet, Hegel, Spengler and Vico to back him up.

But then a stranger reality emerges. He discovers the oldest and closest of Kilpatrick’s companions, James Alexander Nolan, had translated the main plays of Shakespeare back in 1814. Finally the story that emerges is this: the conspirators kept being betrayed to the police so Kilpatrick had tasked his oldest comrade, Nolan, with identifying the traitor. At a secret meeting of the patriots Nolan announced that it was Kilpatrick himself. The great patriot admitted it. They discussed how to deal with him. They came up with a drama, a play, a theatrical event, which would ensure Kilpatrick’s punishment and death, and yet if he was said to have been assassinated at the theatre, people’s illusions about him, and the Cause in general, would be preserved. And so Nolan, the Shakespeare translator, arranged it all, even borrowing certain events (the unheeded warning) in order to make the ‘assassination’ more melodramatic and memorable.

And also, his disillusioned great grandson and biographer speculates, to leave messages to posterity. Some of the allusions were pretty crass. Maybe he, Ryan, was intended to discover the truth. After weighing the pros and cons, Ryan decides to suppress what he has learned, and write a straightforward biography climaxing in the great man’s tragic assassination. Maybe that, too, was part of the plan.

Death and the Compass (1942)

This is a murder mystery of a particularly arch and contrived tone, but reading it makes you realise Borges’s debt to the English yarn tellers of the 1890s, to Robert Louis Stevenson and especially Conan Doyle. We are introduced to Erik Lönnrot, another in the long line of hyper-intellectual freelance detectives with a taste for paradox and irony i.e. an entirely literary creation, who also, as per the tradition, plays off a phlegmatic police inspector, Franz Treviranus.

At the Third Talmudic Congress held in the Hotel du Nord, Rabbi Marcel Yarmolinsky goes to bed one night and his body is found dead, stabbed in the chest, the next morning. The dead man, of course, had a number of rare and arcane books of theology in his room. Which Lönnrot takes away and reads:

One large octavo volume revealed to him the teachings of Israel Baal Shem Tobh, founder of the sect of the Pious; another, the virtues and terrors of the Tetragrammaton, which is the unutterable name of God; another, the thesis that God has a secret name, in which is epitomized (as in the crystal sphere which the Persians ascribe to Alexander of Macedonia) his ninth attribute, eternity — that is to say, the immediate knowledge of all things that will be, which are and which have been in the universe…

Books books books. But then more bodies turn up dead – small-time crook Daniel Simon Azevedo, then the kidnapping and murder of one Gryphius. We know the three murders are linked because at the scene three sentences are written, ‘The first letter of the Name has been uttered’, and the second and the third.

After the third the police are anonymously sent a letter sent by ‘Baruch Spinoza’ asserting that a fourth murder will not be carried out. But Lönnrot has seen through all this. He Dandy Red Scharlach set out

to weave a labyrinth around the man who had imprisoned my brother. I have woven it and it is firm: the ingredients are a dead heresiologist, a compass, an eighteenth-century sect, a Greek word, a dagger, the diamonds of a paint shop.

The Secret Miracle (1943)

Hladik had rounded forty. Aside from a few friendships and many habits, the problematic exercise of literature constituted his life…

Jaromir Hladik is an author of, among others, an unfinished drama entitled The Enemies, of Vindication of Eternity (which discusses immutable Being of Parmenides, the modifiable Past of Hinton, and the idealist philosopher, Francis Bradley) and of a study of the indirect Jewish sources of Jakob Böhme, he has translated the Sepher Yezirah and published studies of the work of Böhme, of Ibn Ezra, and of Fludd. He is another of Borges’s hyper-bookish heroes.

The Nazis take Prague and seize Hladik who is identified as a Jewish author and condemned to death. The story deals with the feverishly philosophical ideas which flood his mind during the days and nights he spends in his prison cell leading up to his sentence of death by firing squad, in which he discusses with himself various aspects of time and reality and God, and has a dream that God’s word is vouchsafed to him through a random book in a library, and in which he goes through the elaborate plot of his verse drama, The Enemies, which is itself a drama about reality and illusion. He begs God for a year to finish the work in order to justify himself and Him.

Finally he is led out to the shabby yard where the soldiers are hanging round bored, are rallied by their sergeant and line up to shoot him but, just as the order is given, time freezes, completely, but Hladik’s consciousness continues, observing the frozen world about him from his frozen body, at first in panic, and then realising that God heard his plea and has given him a year to complete his drama. And the final page of the drama describes how he does that, not needing food or water or bodily functions, but devoting a year of time to bringing the verse drama to complete perfection, And as the last phrase of it is completed in his mind, the world resumes, the firing squad fires, and Hladik slumps, dead.

Three Versions of Judas (1944)

Borges’s fiction is above all hyper-bookish, made out of references to arcane philosophical or theological texts from the Middle Ages or Antiquity. Most (if not quite all) the ‘stories’ mimic the style and approach of an old-fashioned scholarly article, not least in having textual footnotes which cite other scholarly volumes or references.

Instead of a description of a city or house or street or natural location, a time of day, or the physical appearance of a protagonist, Borges’s fictions set their scene amid books and references.

In Asia Minor or in Alexandria, in the second century of our faith, when Basilides disseminated the idea that the cosmos was the reckless or evil improvisation of deficient angels, Nils Runeberg would have directed, with singular intellectual passion, one of the Gnostic conventicles. Dante would have assigned him, perhaps, a fiery grave; his name would extend the list of lesser heresiarchs, along with Satornilus and Carpocrates; some fragment of his preachings, embellished with invective, would survive in the apocryphal Liber adversus omnes haereses or would have perished when the burning of a monastery library devoured the last copy of the Syntagma. Instead, God afforded Runeberg the twentieth century and the university town of Lund. There, in 1904, he published the first edition of Kristus och Judas and, in 1909, his major book, Den hemlige Frälsaren. (Of the latter there is a German translation, made in 1912 by Emil Schering; it is called Der heimliche Heiland.)

Amid a dense forest of allusions to obscure works of theology and scores of beliefs held by the orthodox and heretical, Borges articulates the three theories developed by Danish theologian, namely:

  1. In his book Kristus och Judas, Runeberg asserts that Judas was a kind of ‘reflection’ of Jesus in the human world; just as Jesus was sent from heaven, so Judas took up the burden of being human in order to pave the way for Jesus to take the path to the crucifixion and salvation of humanity.
  2. Meeting fierce criticism from fellow theologians, Runeberg rewrites the book to assert that it was Judas who sacrificed more than Jesus, mortifying his spirit for the greater good.
  3. Then in his final book, Den hemlige Frälsaren, Runeberg develops this idea to its logical conclusion, which is that it was Judas not Jesus who made the ultimate sacrifice and truly laid down his life for humanity. Jesus hung on the cross for 6 hours but then he was translated to heaven, whereas Judas committed suicide, taking upon himself not only an eternal reputation for treachery and betrayal, but condemning his own soul to eternity in hell. Which one made the greater sacrifice? Therefore, Runeberg asserts, it was Judas who was the true incarnation of a God determined to make the most complete identification with humanity possible, even to the uttermost depths of human depravity and damnation.

The Sect of the Phoenix (1952)

Those who write that the sect of the Phoenix had its origin in Heliopolis and derive it from the religious restoration following upon the death of the reformer Amenophis IV, cite texts from Herodotus, Tacitus and the monuments of Egypt, but they ignore, or prefer to ignore, that the designation ‘Phoenix’ does not date before Hrabanus Maurus and that the oldest sources (the Saturnales of Flavius Josephus, let us say) speak only of the People of the Custom or of the People of the Secret.

Repeatedly the stories invoke the same kind of imaginative world, a world of arcane books and abstruse learning, which revolves not so much around pure philosophy – the academic subject of Philosophy which concerns rather mundane discussions of language or ethics which bothered Plato and Locke – but the swirling multi-coloured world of abstruse theologies and mystical visions of the divinity and cults and lost texts, of heresiarchs (‘the founder of a heresy or the leader of a heretical sect’) and patriarchs, sectarians and mystagogues, Talmudists and Confucians, Gnostics and alchemists, adepts in secret rituals and concealed knowledge, and which has adherents down to the present day such as the heretical theologian Nils Runeberg from The Three Versions of Judas or the learned Rabbi Marcel Yarmolinsky in Death and The Compass, intense bookish eccentric figures who carry the convoluted world of medieval theology into obscure corners of our workaday world.

This brief story is an ostensible short scholarly essay by a narrator who claims:

I have collated accounts by travelers, I have conversed with patriarchs and theologians… I have attained on three continents the friendship of many devotees of the Phoenix

And so is in a position to know that devotees of ‘the sect of the Phoenix’ are everywhere, of all creeds and colours, speaking all languages, often not even realising it themselves. I think the essay is an answer to the question, What if there was a religion so widespread that its adherents didn’t even realise they followed it?

The Immortal (1949)

A princess (!) buys a second hand edition of Alexander Pope’s translation of The Iliad off a book dealer, Joseph Cartaphilus, in London and later finds in the leaves of the last volume a manuscript, which then makes up the body of the story. It is a first person narrative by Marcus Flaminius Rufus, military tribune of one of Rome’s legions, who hears rumours of a land to the West where sits the City of the Immortals and so sets off with a troop of 200 soldiers and sundry mercenaries all of whom desert him in the face of all kinds of adversity, until he comes to consciousness in a settlement of speechless troglodytes before staggering on, exhausted, hungry, thirsty towards a high rocky plateau on which is built a mysterious city, but when he finally gains entrance he discovers it is not only abandoned and deserted, but built with an excess of useless passages and windows and balconies and details amid he becomes lost and then overwhelmed by its size and complexity and horrifying pointlessness.

When he emerges he discovers one of the speechless troglodytes has followed him like a loyal dog. He nicknames him Argos after Odysseus’s loyal dog and over the next few weeks tries to teach him to speak. Then, one day, there is a ferocious downpour of rain, and Argos suddenly speaks, responds to the name, recognises the classical allusion and, to the narrator’s astonishment, reveals that he is Homer, author of the Iliad and the Odyssey and that the other haggard, grimy, speechless troglodytes, they are the Immortals, who long ago wrecked their beautiful city, rebuilding it as a surrealist testament to the unknown and irrational forces which control our fates, and withdrew to the caves and lives of inarticulate resignation.

Because he has drunk of the river that runs past the troglodytes’ caves he is now immortal and the narrative briefly covers his wandering life for the following centuries, until in 1929 he drinks from a stream in Eritrea and realises, with enormous relief, that it has restored his mortality.

The Theologians (1947)

An orgy of theological minutiae describing the academic rivalry between two sixth century theologians, Aurelian of Aquileia and John of Pannonia, who compete with each other in refuting the heresy of the so-called Monotones (namely that history is cyclical and all people and events recur again and again), which twists via a dense undergrowth of theological quotes and references to a climax in which Aurelian witnesses John being burned at the stake for the very heresy he had set out to refute, and then the two rival theologians meet up in heaven where, in true Borgesian fashion, they are revealed to be two aspects of the same person.

Story of the Warrior and the Captive (1940)

Droctulft was an eighth century Lombard warrior who, during the siege of Ravenna, left his companions and died defending the city he had previously attacked. Borges imagines this pallid denizen of the pagan forests and the boar hunt arriving at a city, his dazzlement at the order and clarity and architecture and gardens, and suddenly throwing in his lot with the citizens, fighting against his former comrades.

And this reminds him of his grandmother who was from England. She lived out on the borderlands. One day she was introduced to a young woman Indian who, it transpires, was English, from Yorkshire, her parents emigrated and were killed in an Indian raid and she was stolen away and married to a chieftain who she has already borne two children. Borges’s grandmother offers to take her away, to return her to civilisation, but the Englishwoman-gone-native refuses. She, like Droctulft, has made a deep choice.

Emma Zunz (1948)

Emma’s father commits suicide because he was swindled out of his share of the factory he set up. She vows to be revenged on the swindler, Aaron Loewenthal (all the characters in this story are Jewish) and, a shy 19, dresses up, goes hanging round in bars, in order to lose her virginity to some rough foreigner. This is to nerve her for the assassination, when she presents herself to Loewenthal in the guise of a stoolpigeon for the ringleaders of the disgruntled workers in the factory but, when he rises to fetch her a glass of water, impulsively shoots him, though she’s not very good at it and takes three shots. She then calls the police and pleads a story that Lowenthal tried to rape and outrage her, which, Borges says, is true, in spirit if not in detail, and her genuine outrage and sense of shame and hate secures her an acquittal at her subsequent trial.

The House of Asterion (1947)

The world seen from the perspective of the Minotaur. (The idea is related to the brief one-page summary Borges gives of a story he planned to write about the world seen from the point of view of Fafnir, the gold-guarding dragon in the Nibelung legend. You can see how you could quickly generate a list of stories ‘from the point of’ figures from myth and legend.)

Deutsches Requiem (1946)

Otto Dietrich zur Linde is a Nazi and a devout follower of Schopenhauer and his doctrine that nothing that happens to us is accidental (it is a happy coincidence that I’ve recently been reading Samuel Beckett, who was also very influenced by Schopenhauer, in particular by his attitude of quietism).

As the Second World War breaks out Otto Dietrich zur Linde is involved in a shootout which leads to the amputation of one of his legs. As a good Nazi he is eventually rewarded by being made, in 1941, subdirector of the concentration camp at Tarnowitz.

When the wonderful Jewish poet David Jerusalem is sent to the camp, zur Linde sets about systematically destroying him because, by doing so, he is destroying the compassion in his own soul which keeps him down among ordinary humans, prevents him from becoming Nietzsche’s Overman.

As the tide of war turns against the Germans, zur Linde speculates why and what it means before realising that Germany itself must be destroyed so that the New Order it has helped to inaugurate can come fully into being. This short text turns into quite a disturbing hymn to Nazism:

Many things will have to be destroyed in order to construct the New Order; now we know that Germany also was one of those things. We have given more than our lives, we have sacrificed the destiny of our beloved Fatherland. Let others curse and weep; I rejoice in the fact that our destiny completes its circle and is perfect.

Averroes’ Search (1947)

A classic example of Borges’s fascination with the byways of medieval mystical theology, and his ability to spin narratives out of it.

Abulgualid Muhammad Ibn-Ahmad ibn-Muhammad ibnRushd (a century this long name would take to become Averroes, first becoming Benraist and Avenryz and even Aben-Rassad and Filius Rosadis) was writing the eleventh chapter of his work Tahafut-ulTahafut (Destruction of Destruction), in which it is maintained, contrary to the Persian ascetic Ghazali, author of the Tahafut-ulfalasifa (Destruction of Philosophers), that the divinity knows only the general laws of the universe, those pertaining to the species, not to the individual…

It is a complex text, woven with multiple levels of references, which revolves round a dinner party attended in the then-Muslim city of Cordoba in Muslim Spain by the great medieval Muslim commentator on the ancient Greek philosopher, Aristotle, and some colleagues and friends including one who claims to have travelled as far as the fabled land of Sin (China). When he was there he recounts being taken to a large hall with tiered banks of seats where many people on a raised platform acted out events. The other diners agree how ridiculous this sounds and we learn that, apparently, the traditions and culture of Islam did not have or understand the entire concept of the theatre and the drama.

The essay focuses on the way this conversation was relevant for Averroes because he was that day working on a translation of Aristotle and puzzled by two words he had come across, ‘tragedy’ and ‘comedy’ which have no parallel in the world of Islam.

This is all fascinating and beautifully described amid the gardens and roses and civilised calm of the Muslim city, but on the last half page Borges twists the story onto a different level altogether by intruding himself as the author and declaring he only told this story as an attempt to describe a certain kind of failure to imagine something, and that, as the story progressed, he, Borges, realised that he was failing to imagine his own story, thus the story and the writing of the story, both addressed the same subject, in a kind of duet.

I felt, on the last page, that my narration was a symbol of the man I was as I wrote it and that, in order to compose that narration, I had to be that man and, in order to be that man, I had to compose that narration, and so on to infinity. (The moment I cease to believe in him, ‘Averroes’ disappears.)

Wow.

The Zahir (1947)

Clementina Villar was a model and celebrity, always appearing at the right place at the right time dressed in the height of fashion. She dies in a slummy suburb and Borges attends her wake. Decomposition makes her look younger. On the rebound from his grief he drops into a neighbourhood bar, orders a brandy and is given the Zahir among his change. The Zahir is an everyday coin but:

people (in Muslim territories) use it to signify ‘beings or things which possess the terrible property of being unforgettable, and whose image finally drives one mad.’

He can’t stop looking at it, he takes it home, he turns it over and over, it obsesses his sleep, eventually he gets lots in a maze of streets, slips into another bar and pays for a drink handing the coin over, goes home and has his first good night’s sleep in weeks.

The Waiting (1950)

An unnamed man checks into a boarding house in a suburb of Buenos Aires and tries to lead a completely anonymous life while he waits for his assassins to track him down and kill him.

The God’s Script

The story is told by Tzinacán, magician of the pyramid of Qaholom, an Aztec priest whose city was conquered and burned down by the conquistador Pedro de Alvarado who tortured and mangled him to try and extract the secret of where all the native gold and treasure was hidden. Now he lies in a dungeon where he has been subsisting for years, but it is a strange prison because on the other side of the wall is kept a jaguar which paces up and down in his cell. Only at certain hours of the day, when the light is right, can Tzinacán see it. Over the years Tzinacán becomes obsessed with the idea that his god Qaholom must have foreseen the disaster which overcame his people,

The god, foreseeing that at the end of time there would be devastation and ruin, wrote on the first day of Creation a magical sentence with the power to ward off those evils. He wrote it in such a way that it would reach the most distant generations and not be subject to chance. No one knows where it was written nor with what characters, but it is certain that it exists, secretly, and that a chosen one shall read it.

So it is another story about a kind of secret knowledge, known only to adepts, occult and hidden. To cut a long story short, Tzinacán has a revelation which is indistinguishable from going mad, as he ponders the nature of this message from the gods, as he ponders at length what the language of a god would be like, how it would contain the whole world, not even in a sentence, but in one infinite word, and he suddenly perceives it in the shape of an infinite wheel, on all sides of him, made of fire and water, the secret of the world is contained in fourteen words of forty syllables, if he said them out loud the prison would disappear and he would be master of the land of Moctezuma – but he never will because he has ceased to be Tzinacán, he has ceased to have his concerns or aims, and therefore he knows the secret of divine power, but the very knowledge of it means he never has to use it.

Essays

The Argentine Writer and Tradition (1951)

The problems of national identity and literary heritage faced by the writer in Argentina are not something most of us have spent much time worrying about. Reading Borges’s essay on the subject mostly confirms that I know nothing whatsoever about Latin American literature. For my generation this meant entirely the magical realism school pioneered by Gabriel Garcia Marquez and a cluster of related writers such as Mario Vargas Llosa and, fashionable among feminists, Isabel Allende. I’m fairly well read but I’d never heard of any of the names or works Borges refers to, for example I had no idea the great Argentine epic poem is El gaucho Martín Fierro by Jose Hernandez which is, apparently, packed with gaucho colloquialisms.

Initially the essay dwells on obscure questions about the relative merits of ‘gauchesque’ poetry (which he takes to be the contrived nationalistic poetry of literary circles of Buenos Aires) vis-a-vis the poetry of payadas (improvised musical dialogues on philosophical themes which reveal their true nationalism precisely by the absence of localising dialect) but both of which are almost meaningless to me since I can’t read Spanish and had never heard of Martín Fierro. (Borges had published in 1950 a study of the gauchesque, Aspectos de la literatura gauchesca and in 1953 an essay on Martín Fierro.)

But slowly emerges his main point which is more comprehensible, namely that ‘national’ poetry or literature does not at all need to limit itself to local colour and national subjects: witness Shakespeare who wrote about Italians and Danes, and Racine whose works are entirely set in the world of Greek myth. Thus:

The idea that Argentine poetry should abound in differential Argentine traits and Argentine local colour seems to me a mistake.

In Borges’s opinion, there are other elements of the Argentine character which distinguish their literature, among which he mentions: ‘ the Argentine’s reticence, his constraint’, ‘Argentine reserve, distrust and reticence, of the difficulty we have in making confessions, in revealing our intimate nature’. In demonstrating the unnecessity of having local colour, he cites the fact (observed by Gibbon) that there are no references to camels in the Koran. This is because Mohammed, as an Arab, so lived in the culture of camels that he didn’t even have to mention them. That is how local colour should be conveyed – by the subtlety of its absence. Thus when Borges reads Argentine nationalists prescribing that Argentine writers should write about the Argentine national scene using local colour and local words, he thinks they are dead wrong.

He goes on to speculate about the role of the Jews in European literature, and the Irish in English literature, both of which are over-represented, and it’s because they are outsiders and so not tied by tradition; they can be innovators.

For that reason I repeat that we should not be alarmed and that we should feel that our patrimony is the universe; we should essay all themes, and we cannot limit ourselves to purely Argentine subjects in order to be Argentine; for either being Argentine is an inescapable act of fate — and in that case we shall be so in all events — or being Argentine is a mere affectation, a mask.

(In Labyrinths this appears as rather a one-off work, but in fact Borges wrote extensively throughout his career on Argentine subject matter, including Argentine culture (‘History of the Tango’, ‘Inscriptions on Horse Wagons’), folklore (‘Juan Muraña’, ‘Night of the Gifts’), literature (‘The Argentine Writer and Tradition’, ‘Almafuerte’, ‘Evaristo Carriego’), and national concerns (‘Celebration of the Monster’, ‘Hurry, Hurry’, ‘The Mountebank’, ‘Pedro Salvadores’).

The Wall and the Books

A meditation on the fact that the Chinese emperor, Shih Huang Ti, who commissioned the building of the Great Wall but also ordered the burning of all the books and libraries. It allows Borges one of his characteristic series of dreamy speculations. It is recorded that Shih Huang Ti’s mother was a libertine whom he banished. Maybe burning the books was a symbolically Freudian attempt to abolish the entire past which contained his personal shame. Maybe the wall was a psychological wall to keep out his guilt. He also forbade death to be mentioned and sought an elixir for immortality, so maybe fire and wall were to keep death at bay. If he ordered the building of the wall first then the burning of the books, we have the image of an emperor who set out to create, gave up, and resigned himself to destroying; if the order is reverse, we have the image of an emperor who set out to destroy everything, gave up, and dedicated himself to endless building. Dreamy speculations:

Perhaps the wall was a metaphor, perhaps Shih Huang Ti sentenced those who worshiped the past to a task as immense, as gross and as useless as the past itself. Perhaps the wall was a challenge and Shih Huang Ti thought: “Men love the past and neither I nor my executioners can do anything against that love, but someday there will be a man who feels as I do and he will efface my memory and be my shadow and my mirror and not know it.” Perhaps Shih Huang Ti walled in his empire because he knew that it was perishable and destroyed the books because he understood that they were sacred books, in other words, books that teach what the entire universe or the mind of every man teaches. Perhaps the burning of the libraries and the erection of the wall are operations which in some secret way cancel each other.

A lazy Sunday afternoon of perhapses. The essay ends with a thunderclap, the notion that the way these two contrasting facts seem about to deliver some kind of revelation which never, in fact, arrives, the sense of a great meaning, which is never made clear:

this imminence of a revelation which does not occur is, perhaps, the aesthetic phenomenon.

The Fearful Sphere of Pascal

‘It may be that universal history is the history of a handful of metaphors.’ In which case he is examining one particular metaphor, that of the infinite sphere whose centre is nowhere, and pursues it through the works of Xenophanes of Colophon, Plato, Parmenides, Empedocles, Alain de Lille, the Romance of the Rose, Rabelais, Dante, Copernicus, Giordano Bruno, John Donne, John Milton, Glanville, Robert South, Pascal.

This very brief trot through the different expressions of the same metaphor suggest very strongly a sense of the rise and rise in optimism in human thought up to a kind of breakthrough in the Renaissance, summed up in Bruno’s attitude, which then crumbles into the sense of fear and isolation expressed by Pascal. I.e. this tiny essay gives a powerful sense of the changing moods and contexts of Western civilisation.

Partial Magic in the Quixote

It starts by asserting that Cervantes set out to write an utterly disenchanted account of the sordid reality of the Spain of his day yet certain moments of magic and romance nonetheless intrude; but this fairly simple point then unfolds into something much stranger as Borges zeroes in on the fact that in part two of Don Quixote the characters have read part one and comment on their own existence as characters. Borges then lists a number of other examples of fictions which appear within themselves such the Ramayana of Valmiki which, late on, features an appearance of the Ramayana of Valmiki as a major part of the plot. Similarly, on the 602nd night of the Thousand and One Nights, Scheherezade summarises the history of the king which includes his encounter with her and her telling of the stories which make up the nights, including the telling of the 602nd night, which includes the telling of the king’s own story, which includes his meeting with her and her telling of all the stories over again, including the telling of the 602nd night, and so on, forever.

What is it that intrigues and disturbs us about these images of infinite recursion?

I believe I have found the reason: these inversions suggest that if the characters of a fictional work can be readers or spectators, we, its readers or spectators, can be fictitious.

Valéry as Symbol

This brief note appears to be an obituary for the French poet Paul Valéry who died in 1945. Borges takes the surprising tack of comparing the French poet with the American poet Walt Whitman. On the face of it no two figures could be more different, Whitman loud, brash, confident, chaotic, contradictory, is morning in America, while Valéry, careful, sensitive, discreet, reflects the ‘delicate twilight’ of Europe. What they have in common is they created fictional images of themselves, made themselves symbolic of particular approaches.

Paul Valéry leaves us at his death the symbol of a man infinitely sensitive to every phenomenon and for whom every phenomenon is a stimulus capable of provoking an infinite series of thoughts.. Of a man whose admirable texts do not exhaust, do not even define, their all-embracing possibilities. Of a man who, in an age that worships the chaotic idols of blood, earth and passion, preferred always the lucid pleasures of thought and the secret adventures of order.

Kafka and His Precursors

A sketch at identifying precursors of Kafka’s ‘atrocious thought’, Borges finds precursors in Zeno’s paradoxes; in the ninth century Chinese writer, Han Yu; Kierkegaard; a poem by Browning; a short story by Léon Bloy; and one by Lord Dunsany. We would never have noticed the Kafkaesque in all these texts had Kafka not created it. Thus each author modifies our understanding of all previous writing.

The fact is that every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.

Avatars of the Tortoise

There is a concept which corrupts and upsets all others. I refer not to Evil, whose limited realm is that of ethics; I refer to the infinite.

He tells us that he once meditated a Biography of the Infinite but it would have taken forever to write. (Borges did in fact publish Historia de la eternidad in 1936.) Instead he gives us this fragment, a surprisingly thorough and mathematically-minded meditation on the second paradox of Zeno, the tortoise and Achilles. It is an intimidating trot through philosophers from the ancient Greek to F.H. Bradley and Bertrand Russell, in each one finding reformulations of the same problem in logic and various ways round it.

Only in the concluding paragraph does it become a bit more accessible when Borges brings out the meaning of Idealistic philosophy, that the world may be entirely the product of our minds and, as so often, ends on a bombshell of an idea:

We (the undivided divinity operating within us) have dreamt the world. We have dreamt it as firm, mysterious, visible, ubiquitous in space and durable in time; but in its architecture we have allowed tenuous and eternal crevices of unreason which tell us it is false.

In this view, Zeno’s paradoxes are among a putative small collection of problems or paradoxes or unnerving insights which are like cracks in the surface of the world we have made, cracks which gives us a glimpse of the utterly fictitious nature of ‘reality’.

The Mirror of Enigmas

A note on the verse from the Bible, First Letter to the Corinthians 13:12 in which Saint Paul writes: ‘For now we see through a glass, darkly; but then face to face: now I know in part; but then shall I know even as also I am known.’ He considers half a dozen meditations on it by the author Léon Bloy which I found obscure. I preferred the final passage where he describes the thinking underlying the intellectual activity of the Cabbalists:

Bloy did no more than apply to the whole of Creation the method which the Jewish Cabalists applied to the Scriptures. They thought that a work dictated by the Holy Spirit was an absolute text: in other words, a text in which the collaboration of chance was calculable as zero. This portentous premise of a book impenetrable to contingency, of a book which is a mechanism of infinite purposes, moved them to permute the scriptural words, add up the numerical value of the letters, consider their form, observe the small letters and capitals, seek acrostics and anagrams and perform other exegetical rigours which it is not difficult to ridicule. Their excuse is that nothing can be contingent in the work of an infinite mind

A Note on (toward) Bernard Shaw

A book is more than a verbal structure or series of verbal structures; it is the dialogue it establishes with its reader and the intonation it imposes upon his voice and the changing and durable images it leaves in his memory. This dialogue is infinite… Literature is not exhaustible, for the sufficient and simple reason that no single book is. A book is not an isolated being: it is a relationship, an axis of innumerable relationships…

I didn’t quite understand the thrust of this essay which begins by refuting the notion that literature is purely a game, and asserts that it involves and tone of voice and relationship with a reader, and then seems to go on to say that this is in some measure proven by the works of George Bernard Shaw whose philosophy may be derivative (Butler and Schopenhauer) but whose prolific invention of character is unprecedented in his time. The sardonic Irishman is an odd choice for the sly Argentinian to single out for praise.

A New Refutation of Time

Consists of two essays written in the 1940s. They are complex and hard to follow but I think he begins with the philosophical doctrine of Idealism which claims the human mind consists of a succession of sense perceptions and doesn’t require there to be a ‘real world’ out there, behind them all. Borges is, I think, trying to go one step further and assert that there need not be a succession of sense perceptions, there is no logical necessity for these impressions to be in the series which we call time. There is only the present, we can only exist in the present, therefore there is no time.

Parables

A series of very short thoughts, images, moments or insights which inspire brief narratives pregnant with meaning or symbolism. Kafka, of course, also wrote modern parables, parables with no religious import but fraught with psychological meaning.

Inferno, 1, 32

God sends a leopard kept in a cage in late 13th century Italy a dream in which he explains that his existence, his life history and his presence in the zoo are all necessary so that the poet Dante will see him and place him at the opening of his poem, The Divine Comedy.

Paradiso, XXXI, 108

Who of us has never felt, while walking through the twilight or writing a date from his past, that something infinite had been lost?

Maybe the mysterious thing which St Paul and the mystics saw and could not communicate appears to all of us every day, in the face of the street lottery ticket seller. Perhaps the face of Jesus was never recorded so that it could become the face of all of us.

Ragnarök

He has a dream. He was in the School of Philosophy and Letters chatting with friends when a group breaks free from the mob below to cries of ‘The gods! The gods’ who take up their place on the dais after centuries of exile. But during that time they have become rough and inhuman, they cannot actually talk but squeak and grunt.

Centuries of fell and fugitive life had atrophied the human element in them; the moon of Islam and the cross of Rome had been implacable with these outlaws. Very low foreheads, yellow teeth, stringy mulatto or Chinese moustaches and thick bestial lips showed the degeneracy of the Olympian lineage. Their clothing corresponded not to a decorous poverty but rather to the sinister luxury of the gambling houses and brothels of the Bajo. A carnation bled crimson in a lapel and the bulge of a knife was outlined beneath a close-fitting jacket. Suddenly we sensed that they were playing their last card, that they were cunning, ignorant and cruel like old beasts of prey and that, if we let ourselves be overcome by fear or pity, they would finally destroy us. We took out our heavy revolvers (all of a sudden there were revolvers in the dream) and joyfully killed the Gods.

Parable of Cervantes and the Quixote

How could Miguel de Cervantes ever have guessed that his attempt to mock and undermine the glorious myths of the Age of Chivalry in his fictitious character, Don Quixote, would itself become a larger-than-life myth? (Well, anyone who has studied a bit of human nature and knows that humans are the myth-making species, constantly rounding out narratives, creating stories which explain everything in which larger-than-life figures either cause all evil or all good.)

The Witness

Borges imagines the last pagan Anglo-Saxon, the last eye-witness of the sacrifices to the pagan gods, living on into the new age of Christianity. What memories and meanings will be lost at his death? Which makes him reflect on what will be lost when he himself dies.

A Problem

A very abstruse problem: Cervantes derives Don Quixote from an Arab precursor, the Cide Hamete Benengeli. Imagine a scrap of manuscript is discovered in which his knightly hero discovers that in one of his fantastical conflicts he has actually killed a man. How would Quixote respond? And Borges imagines four possible responses.

Borges and I

The narrator, Borges, speculates about the other Borges. On a first reading I take this to be the Borges of literature, the Borges who both writes the stories and is conjured into existence by the stories, who is not the same as the flesh and blood Borges who walks the streets.

Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things

Everything and Nothing

A moving and beautiful meditation on the life of William Shakespeare which paints him as a hollow man, plagued by his own emptiness, who seeks to fill it with books, then with sex with an older woman (marriage to Anne Hathaway), moving to the big city, and involvement in about the most hurly-burly of professions, acting, before someone suggests he writes plays as well as acting in them, and he fills his soul with hundreds of characters, giving them undreamed-of speeches and feelings, before, an exhausted middle aged man he retires back to his provincial birthplace, and renounces all poetry for the gritty reality of lawsuits and land deals before dying young.

In a fantastical coda, he arrives in heaven and complains to God that all he wants is to have an identity, to be a complete man instead of a hollow man, but God surprises him with his reply.

After dying he found himself in the presence of God and told Him: ‘I who have been so many men in vain want to be one and myself.’ The voice of the Lord answered from a whirlwind: ‘Neither am I anyone; I have dreamt the world as you dreamt your work, my Shakespeare, and among the forms in my dream are you, who like myself are many and no one.’


Labyrinths

A labyrinth is a structure compounded to confuse men; its architecture, rich in symmetries, is subordinated to that end. (The Immortal)

The choice of this word for the title of the volume is no accident. The metaphor of the labyrinth, referring to endless tangles of intellectual speculation, crops up in most of the stories and many of the essays. It is a founding metaphor of his work.

  • Tlön is surely a labyrinth, but it is a labyrinth devised by men, a labyrinth destined to be deciphered by men.
  • Haslam has also published A General History of Labyrinths
  • I have some understanding of labyrinths: not for nothing am I the great grandson of that Ts’ui Pên who was governor of Yunnan and who renounced worldly power in order to write a novel that might be even more populous than the Hung Lu Meng and to construct a labyrinth in which all men would become lost.
  • I thought of a labyrinth of labyrinths, of one sinuous spreading labyrinth that would encompass the past and the future and in some way involve the stars
  • Once initiated in the mysteries of Baal, every free man automatically participated in the sacred drawings, which took place in the labyrinths of the god every sixty nights (Babylon)
  • Another [book] (very much consulted in this area) is a mere labyrinth of letters (Babel)
  • He is rescued from these circular labyrinths by a curious finding, a finding which then sinks him into other, more inextricable and heterogeneous labyrinths (Theme of the Traitor and the Hero)
  • I felt that the world was a labyrinth, from which it was impossible to flee… (Death and the Compass)
  • On those nights I swore by the God who sees with two faces and by all the gods of fever and of the mirrors to weave a labyrinth around the man who had imprisoned my brother (Death and the Compass)
  • Meticulously, motionlessly, secretly, he wrought in time his lofty, invisible labyrinth (The Secret Miracle)
  • Intolerably, I dreamt of an exiguous and nitid labyrinth: in the center was a water jar; my hands almost touched it, my eyes could see it, but so intricate and perplexed were the curves that I knew I would die before reaching it. (The Immortal)
  • There were nine doors in this cellar; eight led to a labyrinth that treacherously returned to the same chamber; the ninth (through another labyrinth) led to a second circular chamber equal to the first. (The Immortal)
  • You are not lighting a pyre, you are lighting a labyrinth of flames. (The Theologians)

The most labyrinthine story is The Garden of Forking Paths in which the word occurs 18 times.

The labyrinth is a metaphor for the mind and the way it never stops speculating, creating unending streams of interpretation, of our lives, of the world, of each other, of everything, each more entrancing and futile than the one before (among which are ‘the intimate delights of speculative theology’). Thus many of his ‘stories’ feature hardly any characters, events or dialogue – all the energy goes toward capturing the beguiling, phosphorescent stream-of-ideas of an extremely learned, religio-philosophical, fantastical mind:

I thought that Argos and I participated in different universes; I thought that our perceptions were the same, but that he combined them in another way and made other objects of them; I thought that perhaps there were no objects for him, only a vertiginous and continuous play of extremely brief impressions. I thought of a world without memory, without time; I considered the possibility of a language without nouns, a language of impersonal verbs or indeclinable epithets. (The Immortal)

And this endless stream of ideas reflects the way a mature world is full of infinite iterations of any given object. Looking at a coin in his hand:

I reflected that every coin in the world is a symbol of those famous coins which glitter in history and fable. I thought of Charon’s obol; of the obol for which Belisarius begged; of Judas’ thirty coins; of the drachmas of Laï’s, the famous courtesan; of the ancient coin which one of the Seven Sleepers proffered; of the shining coins of the wizard in the 1001 Nights, that turned out to be bits of paper; of the inexhaustible penny of Isaac Laquedem; of the sixty thousand pieces of silver, one for each line of an epic, which Firdusi sent back to a king because they were not of gold; of the doubloon which Ahab nailed to the mast; of Leopold Bloom’s irreversible florin; of the louis whose pictured face betrayed the fugitive Louis XVI near Varennes. (The Zahir)

And:

Money is abstract, I repeated; money is the future tense. It can be an evening in the suburbs, or music by Brahms; it can be maps, or chess, or coffee; it can be the words of Epictetus teaching us to despise gold; it is a Proteus more versatile than the one on the isle of Pharos. It is unforeseeable time, Bergsonian time, not the rigid time of Islam or the Porch.

Everything relates to everything else. Everything is a symbol of everything else, including the most profound categories of thought, hundreds, thousands of which have been dreamt up by the centuries full of metaphysicians and mystics. Anything can stand for anything else and that is, or should be, the freedom of literature, showing us how the infinite nature of human thought can liberate us, at every moment.

Tennyson once said that if we could understand a single flower, we should know what we are and what the world is. Perhaps he meant that there is no fact, however insignificant, that does not involve universal history and the infinite concatenation of cause and effect. Perhaps he meant that the visible world is implicit in every phenomenon, just as the will, according to Schopenhauer, is implicit in every subject… (The Zahir)

Or perhaps something else again, and something else again, and on forever, as long as we breathe, as long as we have consciousness, which consists of impressions, connections, moods, feelings and thoughts endlessly unfurling. Hence his interest in The Infinite, which is the subject of many of the stories (The Library of Babel) and the essay on Achilles and the tortoise which examines the infinitely recursive nature of intelligence. Speaking of the paradox, he writes:

The historical applications do not exhaust its possibilities: the vertiginous regressus in infinitum is perhaps applicable to all subjects. To aesthetics: such and such a verse moves us for such and such a reason, such and such a reason for such and such a reason…

And so on, forever.

Labyrinths as a labyrinth

I began to note how certain names and references recur in many of the stories, for example the name and works of Kafka or the paradox of Achilles and the tortoise, Schopenhauer’s notion of the world as a fantasy, Spinoza’s that all things long to persist as themselves – when it occurred to me that these references and motifs which recur across so many stories and essays themselves create a matrix or web which links the texts subterraneanly, so to speak, and themselves create a kind of labyrinth out of the text of Labyrinths. That the totality of the book Labyrinths is itself a labyrinth.

And, rereading that definition – ‘A labyrinth is a structure compounded to confuse men’ – maybe the enjoyment of this awesome book comes from savouring pleasurable confusions; maybe it is about entering a world of carefully controlled and contrived intellectual bewilderments.

The Borgesian

There’s an adjective, apparently, Borgesian, which means: ‘reminiscent of elements of Borges’ stories and essays, especially labyrinths, mirrors, reality, identity, the nature of time, and infinity’.

In his preface, André Maurois, in an attempt to convey the sense Borges’s stories give us of a vast erudition, says that Borges has read everything, but this isn’t quite true. His fictions very cannily give the impression that he has read widely, but it becomes clear fairly quickly that he has read widely in a very particular kind of text, in a certain kind of semi-mystical philosophy and metaphysics, often venturing from the fairly reputable works of Berkeley or Hume or Schopenhauer out into the arcane and mysterious byways of Christian and Islamic and Judaic theology, with the occasional excursion into the wisdom of Chinese magi.

These attributes – the combination of reputable Western philosophers with obscure religious mystics, and the casual mingling of Western texts with dicta from the Middle East or China – are exemplified in probably most famous of all Borges’s stories, Tlön, Uqbar, Orbis Tertius. Here’s a complete list of all the books and ideas referred to in just this one short essay:

Books

  • The Anglo-American Cyclopaedia (New York, 1917)
  • Ritter’s Erdkunde
  • Justus Perthes’ atlases
  • Silas Haslam: History of the Land Called Uqbar (1874)
  • Silas Haslam: A General History of Labyrinths
  • Lesbare und lesenswerthe Bemerkungen über das Land Ukkbar in Klein-Asien (1641) by Johannes Valentinus Andreä
  • Thomas De Quincey (Writings, Volume XIII)
  • Bertrand Russell: The Analysis of Mind (1921)
  • Schopenhauer: Parerga und Paralipomena (1851)
  • Hydriotaphia, Urn Burial, or a Discourse of the Sepulchral Urns lately found in Norfolk by Sir Thomas Browne (1658)

References

  • the Gnostic philosophers’ belief that the world is a pale parody of the real Creation
  • the Islamic tradition of the marvellous Night of Nights
  • David Hume’s comments on the philosophy of George Berkeley
  • Meinong’s theory of a subsistent world
  • Spinoza’s attribution to the Almighty of the attributes of time and extension
  • a heresiarch of the eleventh century
  • Zeno’s paradoxes
  • The Tao Te Ching
  • The 1001 Nights
  • hermetic philosophy

And then there are the hoaxes for which Borges acquired quite a reputation. Silas Haslam does not exist, is merely a fictional author and, scattered throughout these 40 texts, among the pedantic footnotes citing genuine works of philosophy or theology, are scattered other fictional authors, thinkers and ideas. In Borges’s hands the worlds of fiction and ‘reality’ meet and mingle on equal terms. They are, after all, situated in the realm of discourse, and can there be anything more imaginary than that?


Related links

Borges reviews

The Penguin History of Latin America by Edwin Williamson (revised edition 2009) (1)

Because it comes with the bright orange and white spine of the new-style Penguin histories, and because it said ‘New Edition’ on the front cover, I hadn’t quite grasped that the main body of this hefty 700-page history of Latin America was completed by 1990. The new edition is ‘new’ because it tacks a 40-page chapter at the end, summarising events in Latin America between 1990 and 2008. Obviously quite a lot of water under the bridge since 2008, so probably need to supplement this with a modern modern history of LA.

The text is divided into three big parts:

  • The Age of Empire, pages 3 to 192 (189 pages)
  • The Challenge of the Modern World, pages 195 to 310 (115 pages)
  • The Twentieth Century, pages 313 to 566 (253 pages)

Note how the section on the 20th century, plus the forty pages of the ‘new’ chapter, is as long as the first two parts put together. Here, as everywhere, the more recent the history, the more of it there is, the more people there have been (the higher the population) and the more records have been kept, until we reach the present age where every phone call, every text and every photograph anyone in the world takes is being recorded and stored. Soon we will drown in data.

The conquest of the Aztecs and Incas

Williamson dives right in with the early, legendary history of the Aztecs, when they were a group of nomads traipsing round central Mexico, before they established the largest empire in pre-Colombian America around 1400. Their only rival was the Inca Empire, down in modern-day Peru.

There is, of course, a lot to say about both, but the thing that struck me was the way both of them were empires carved out by one particular tribe or ethnic group which subjugated all their neighbours, and demanded tribute in food, precious metals and slaves (some devoted to grisly human sacrifices).

Both generated complex religious ideologies accompanied by fascinating and complex theories of time – that it moved in cycles and was marked by moments of great significance – but the bottom line was that both the Aztec ruler and the Inca emperor believed they derived their authority from the gods, and were backed up in this conviction by the class of priests and the warrior castes which surrounded and defended them.

Of course the vast majority of the population was peasants, mostly living in abject serfhood, who slaved away for their entire short, unhealthy lives, producing the surpluses which paid for the elaborate costumes and rituals and treasures passed up to their rulers. And the entire populations of conquered tribes, for both the Aztecs and Incas lived by war, and by conquering, subjugating and exploiting neighbouring peoples.

The other striking thing was their backwardness. Both Aztecs and Incas, and all the hundreds of other tribes scattered across central and south America, were illiterate. The Aztecs and Incas had no written language, just a primitive system of markers, and so the important knowledge about the stars and the gods was handed down by word of mouth, and hence the semi-divine regard for the caste of priests who, alone, knew this vital celestial information.

They didn’t have the wheel, nor beasts of burden – no horses or donkeys or camels or bullocks. Therefore they had to carry everything by hand. It is staggering to realise that the awesome Inca city of Machu Picchu was built by massive stones, carried 2,430 metres above sea level, by human power alone.

All this was doomed to come crashing to an end when the Europeans arrived. Williamson describes in detail the four successive voyages of Christopher Columbus, his first landfall in 1492, the chaotic mismanagement of the first islands he and his men settled – Hispaniola – the slow, establishment of colonies and extension of Spanish rule onto neighbouring island, and then, 27 years later, Cortez’s expedition to the mainland against the Aztecs (1519-21).

The eeriest thing about Cortes’s conquest of the Aztec Empire, and then Francisco Pizarro’s conquest of Peru in 1532, is the theory that the rulers of both empires were too puzzled and confused by the invaders to respond adequately. They couldn’t believe these little gangs of a few hundred men were serious about planning to overthrow their empires of tens of thousands of warriors – but they couldn’t figure out what it was they really wanted. Williamson attributes the conquistadors’ success partly to guns and horses but shows that in both cases, the conquerors really had very few – when Pizarro finally met with the Inca emperor Atahualpa, in nothern Peru, he had a force of just 110-foot soldiers, 67 cavalry, three arquebuses and two falconets.

More decisive was the Europeans’ superior grasp of strategy, in particular realising that the empires they were encountering were themselves highly stressed, riven by faction fights or stretched by the continual need to control their subject peoples. The Spanish made alliances with enemies and groups wishing to be liberated. They were good at building coalitions.

He doesn’t say it in so many words, but the idea emerges that the Europeans triumphed because they were just more intelligent about strategy and warcraft.

The role of European diseases

Then there’s our old friend disease. As explained at length in Jared Diamond’s classic 1997 study Guns, Germs and Steel, wherever European explorers went they took with them the infectious diseases which, over thousands of years, we had built up immunity to – but which ravaged native populations which had no immunity to them.

This view is reinforced by the revisionist history of America told by Alan Taylor in American Colonies: The Settling of North America (2001). In this Taylor explains how the entire native civilisation of the Mississippi valley was wiped out by diseases, most probably smallpox, brought by a few shipwrecked Spanish sailors to the mouth of the Mississippi delta but which then spread catastrophically so that when, a century later, the first Anglo-Saxon explorers entered the region, they discovered entire cities with complex layouts, large palaces and temples and canals… all abandoned and overgrown by forest.

Indeed, Pizzaro’s job of conquering the Incas was made easier because the Incas were themselves in the middle of a bloody civil war, which was complicated by the fact that not one but two rival claimants to the throne had died from smallpox. Over the decades after the Spanish arrived, there was a catastrophic collapse in native populations caused by the invaders’ diseases. Some experts estimate as much as 90% of the native population of Mexico was killed by European disease within fifty years.

Still, Williamson is always at hand to say that in this, as in everything else, the reality on the ground, and across such vast areas as all of Mexico, Central America and Peru, were far more complex and uneven that contemporaries and many historians realise. Many many other areas of the continent remained relatively untouched and life went on in the same old way, only now you had to pay a tribute of your produce to a new boss, who wore armour and rode a horse.

The geographic limits of Spanish settlement

The book is packed with thought-provoking ideas and insights. I was fascinated to understand more about the geographic limits to the spread of Spanish rule.

When the Anglo settlers arrived in North America in the 1600s they found it relatively easy to spread out into New England and all along the Atlantic coast. But the Spanish, having established their key centres of administration in Mexico City and Lima a century earlier, with waystations and ports in the Caribbean, found it difficult to expand beyond them. Why?

North of Tenochtitlan, the Aztec capital which the invaders had renamed Mexico City, lies a vast area of arid desert – the territory which centuries later would become Arizona and New Mexico – where the Spanish explorers discovered nothing but impoverished villages of Indians surviving on subsistence agriculture.

Over to the east there were repeated attempts to explore the peninsula they named ‘Florida’, but the Spanish found it consisted of endless everglades with few settlements and nothing to plunder.

Heading south, the Spanish took over the coastal strip west of the Andes, conquering the Inca empire, but found the Andes mountains themselves too high to settle. Only a handful of expeditions went over the Andes to explore east. Williamson describes these expeditions, which got lost in the vast Amazon rainforests, and encountered only the most primitive tribespeople, if, indeed, they lived to tell the tale.

So, in a nutshell, central and south America were more difficult for the Spanish to settle than North America would turn out to be for the Anglos. And this explains the quite startling fact that some parts of South America – Williamson singles much of the interior of what is now called Argentina – weren’t really settled at all until the 20th century.

The other factor which limited the area of settlement was the Spaniards’ motivation. The conquistadors were adventurers, often from the very lowest parts of society. No nobles or aristocrats ventured their lives in the New World. Poor youngest sons of noble families led gangs of criminals and proles. None of them were the type of people who wanted to stake a claim and build a farmhouse and work the land – as the Anglo settlers were to do up north a hundred years later.

Instead, the Spanish wanted to exploit and loot as much wealth as they could from the New World before returning home and buying land, a house and a title. They came to loot. And here’s the important thing – you can only loot people who are already rich. The Spanish took over the two big empires, the Aztec in Mexico and the Inca in Peru, because an infrastructure was already in place whereby the native emperors and the upper class exploited large numbers of peasants in a well-organised system. The Spaniards simply took over the system, co-opting the best of the agricultural produce and all the treasure and artefacts for themselves.

It is this factor – the Spanish approach to colonisation – which explains the limited and very patchy nature of Spanish settlement. In the deserts of north Mexico, and in the south of the area they named California, were only desert dwellers, scraping a subsistence living from the soil by dint of elaborate water works. Nothing to steal. In Florida, endless swamps inhabited by scattered villagers. Nothing to steal, and no ‘society’ worth taking over. Ditto the Amazon rainforests. Nothing like an organised society whose power structures and tributes they could simply appropriate.

The Spanish only settled where there were established and relatively advanced societies which they could parasite onto.

How Spain applied the Reconquista to the New World

Williamson lays out with beautiful logic and clarity just how that imperialist approach to colonisation had arisen in Spain.

It is an enormous historical coincidence that the year that Columbus made landfall in the Bahamas, 1492, just happened to be the very same year that – after nearly 800 years of war and crusade – the Spanish finally kicked the very last Muslim Moorish presence out of the south of Spain. (Muslim forces had crossed the Straits of Gibraltar to seize Spanish territory way back in 711 – the fightback is traditionally dated to their first defeat by Christian forces, in 718 – and it took nearly another 800 years, of slow painstaking battles and piecemeal conquest, for native Christians, sometimes fighting alongside Christian warriors from the rest of Europe attracted by the periodic ‘crusades’ against the Muslim –  to finally expel all the Muslim chiefs, emirs and so on from the final southern enclaves.

The point of this historical background is that expelling the Muslims from Spain wasn’t achieved by a modern-style mass army, and in a few years of continuous campaigning – but by ad hoc campaigns led by local Spanish warriors and adventuring knights, which liberated bits and pieces of territory, over a very long period of time.

As and when they seized territory from the Muslims, they applied to the king to rule it. (Spain itself was a very fractured entity, with a number of different kingdoms. It was only as the Reconquista reached its conclusion that the marriage of King Ferdinand of Aragon with Queen Isabella of Castile united most of Spain’s territory to form the basis of one unified Spanish monarchy.)

Sometimes large areas of land would be conquered and the new lords were granted what were known as latifundia, originally a Roman word describing a vast agricultural estate. The new owners co-opted the existing inhabitants as serfs to work the land, but often much of the original or Muslim population had fled and so the lords had difficulty filling them with workers and had to advertise for new workers to come in.

The point is that the Reconquista established a model for settling new lands, freshly conquered from the infidel, which was then applied wholesale to the new territory discovered by Columbus and his Viceroys across the ocean, and by the conquistadors and adventurers who followed them.

The Reconquista established the pattern of the monarch granting complete control over large swathes of territory, and all the people on it to, the conqueror or adelantado who had seized it. This resulted in a handful of rich swaggering lords riding among the large population of impoverished peasants working vast areas of land. In the New World it became known as the encomienda system and the grant holders encomenderos.

In fact it was a bit more complicated than that: the native Indians remained, nominally, free subjects of the Crown, which awarded encomenderos the right to enforce labour from the natives, but not complete power of life and death over them. That was the theory, anyway.

Williamson – once he has reported the main military and political events of the conquest – moves briskly on to discuss in considerable detail, this and all the other legal and administrative measures which the Spanish implemented in their new lands.

In fact, the ‘excitement’ of the narrative of Columbus’s voyages and the initial conquests of the Aztecs and the Incas which open the text, might give the reader quite a misleading impression of the book. Williamson is much more a historian of constitutional and administrative systems than he is a chronicler of exciting battles and against-the-odds expeditions. A lot of this book is quite dry. But he develops the constitutional and legal aspects of the conquest in such detail that, to my surprise, the conflicts between the settlers, and in particular between the Viceroys appointed to govern the new provinces and the monarchy back in Spain – and between both of them and Catholic church – at moments become quite gripping.

The Crown protects the Indians 

One counter-intuitive learning is that the Spanish crown, right from the start, was concerned about protecting the rights of the native Indians, indeed became their chief protector.

As Spanish adventurers opened up new territory and conquered more and more native peoples, the monarchs became concerned to make sure they were not simply enslaved. Queen Isabella personally forbade the enslavement of the natives, and a series of ‘Laws of the Indies’ tried to stem abuses wherever they were found. Encomenderos may have enjoyed almost complete power over the populations of their vast estates, but Spanish laws commanded them to also set up schools and hospitals, to educate the Indians, protect them from wars and raids, and to enact justice. This effort continued for the rest of the 16th century, for example with the ‘New Laws of the Indies for the Good Treatment and Preservation of the Indians’ of 1547, which explicitly forbade all forms of enslaving the native population. The New Laws prompted violent opposition among the oligarchies of Spanish settlers.

The Church takes the Indians’ side

It’s also surprising to read about the broadly sympathetic line taken by the Catholic Church. The Pope and the Catholic organisations which sent cohorts of missionaries out to the New World took the line that these were people made in God’s image, like us, with souls that needed saving. Certainly, some of the first cohort of priests accompanying the conquistadors helped in the wholesale destruction of priceless documents and artefacts which they considered pagan and devilish. But within a generation, a new wave of clerics began for all kinds of reasons to take the native Indians’ side, deploring their brutal exploitation by amoral Spanish lords.

On a pragmatic note, they also realised they couldn’t convert the natives by preaching at them in Latin or Spanish, and undertaking ‘mass baptisms’ where the Indians didn’t have a clue what was going on. So a whole project was undertaken to learn more about the natives’ languages, which quickly extended into documenting their histories and beliefs. Most of what we know about native Indian religion and history derives from these records taken down by Christian missionaries.

The classic figure of this type was Bartolomé de las Casas, initially a coloniser himself, who became a Dominican friar and spent the last 50 years of his life fighting slavery and the colonial abuse of indigenous peoples. He was appointed by the Spanish crown the first ‘Protector of the Indians’, an administrative office responsible for attending to the wellbeing of the native populations, a function he enthusiastically carried out and which included speaking on their behalf in law courts and even reporting back to the King of Spain in person.

In 1550, Bartolomé participated in the Valladolid debate, in which Juan Ginés de Sepúlveda (the noted Spanish Renaissance “humanist”, philosopher, theologian, and… er… proponent of colonial slavery) argued that the Indians were less than human and required Spanish masters in order to become civilized. Las Casas maintained that the Indians were fully human and that forcefully subjugating them was morally, legally, and theologically, unjustifiable. Las Casas is a hero (not a perfect hero, but by the standards of his own time a d brave and determined protector of the people.)

Williamson gives a long and detailed account of the numerous legal initiatives launched by the Crown to try and protect the Indians from exploitation, but in the end they all failed. No amount of legal or theological argumentation could avoid the fact that the Spanish remained the ruling caste with one law for them, while the Indians remained a separate caste, subject to completely different laws. Williamson calls them the Republic of the Spaniards and the Republic of the Indians.

And nothing could alter the simple fact that, on the ground, most of the laws designed to protect the Indians were ignored by the settlers, who looked after each other’s interests.

Theories of conquest and bureaucratic structures

I could have done with more about where the silver was discovered in the New World, and the technology of how it is mined and purified. We are told that mercury was vital to the purification process, but not really how or why. I had to google it to find out. He does eventually have three pages on the silver mines (two on gold-mining), but in general Williamson is light on that kind of thing, on technology, and on the diverse resources of the region.

Instead, as the book settles into its stride, you realise that Williamson is going to devote most of his energy to the legal and theological justifications of Spanish rule along with detailed descriptions of the bureaucratic structures the Spanish set up.

Thus there is a long passage explaining how the theory of monarchy evolved in Spain from its late-medieval form to the theory which underpinned the role of Philip II as head of an empire which stretched from California to Sicily. He explains the role of the Catholic Church as a vital prop to royal authority, and gives long explanations of the laws and the administrative structures set up to run the colonies.

He explains the main theories by which the Spanish justified their conquests, both to themselves and to the rest of the world (especially to their critical opponents in the Protestant world). There were two main ones:

  1. The well-established Law of Conquest, by which one ruler conquers another and is allowed to seize his land and titles, which had been worked out over long centuries of theological and legal debate during the Middle Ages.
  2. The more modern notion that the Crown of Spain had a ‘right’ to rule the Indians because the Europeans would convert the natives to Christianity and so save their souls. This was accompanied by a kind of sub-argument, which many missionaries put forward: that the New World represented an opportunity for Christianity – which had, by the early 1500s become widely associated with corruption and worldly ambition – to start again. Here, in the Garden of Eden, were a new kind of Adam and Eve, a First People uncorrupted by the Old World, and one thread of early colonisation is the devout wishes of the early missionaries to create a Christian Paradise on earth. Of course it was not to turn out that way; the secular settlers – and the terrible European diseases – made sure of that.

How the silver was squandered

Williamson does, however, clarify something which has always puzzled me, which is – if the Spanish monarchy began receiving ever-increasing amounts of silver from the New World (as the result of great silver strikes in North Mexico and Peru in the 1540s), how come Spain steadily declined in power and influence in the century and a half after the conquest?

Indeed, Williamson points out that by the death of Philip II in 1598, Spain was technically bankrupt and had experienced state bankruptcies (i.e been unable to repay its debts) in 1557, 1560, 1569, 1575, and 1596!

Where did the Spanish silver go? The answer turns out to be simple: Paying for Spain’s wars.

Even though it never accounted for more than 20 per cent of imperial revenues, silver was the fuel that drove the Spanish war machine. (p.106)

Philip II’s father had been Holy Roman Emperor and when Philip came to the throne in 1556, he inherited responsibility for territory in every continent known to Europeans – from the extensive empire in Central and South America to the newly conquered territory of the Phillippines, from the kingdom of Naples and Sicily in Italy, to the Seventeen Provinces of the Netherlands which began a protracted war of independence against Spanish rule in 1568. Not only this, but Philip saw himself as the defender of all Christendom in its wars against the Ottoman Turks in the East. He it was who organised ‘the Holy League’, bringing together ships from Spain, the Republic of Venice, the Republic of Genoa, the Papal States, the Duchy of Savoy and the Knights of Malta, to inflict a decisive defeat on the Ottomans at the naval Battle of Lepanto in 1567.

Philip also saw himself as the defender of Catholic orthodoxy against the shocking new Protestant heresy. Thus Philip gave large financial support to the Catholic League fighting the Protestants in France, and then went directly to war with the French King Henry IV, an intervention which secured the future of France as a Catholic country.

Last but not least, as we Brits know, Philip II built, armed, provisioned and manned an enormous armada which was designed, with the blessing of the pope, to conquer England, overthrow the Tudor dynasty and the Church of England, and impose Philip as the Catholic ruler of a Catholic Britain.

So that’s where the silver, hacked out of dangerous and unhealthy mines in the New World by Indian slaves and serfs, ended up being spent. Funding the impossible ambitions of the over-extended Spanish monarchy.

Spain went into decline because of proliferating military commitments for which it could not pay. (p.116)


Related Latin American reviews (mainly about Mexico)

Urban Impulses: Latin American Photography 1959-2016 @ the Photographers’ Gallery

The history of Latin America has fascinated observers as much as it has mystified them. There is something apparently alien about the continent, an exoticism that derives perhaps from it having once been perceived as a ‘new world’, although there survive monuments and relics of ancient societies whose cultures remain poorly understood by us even today. This elusiveness – hinting simultaneously  at a former state of grace and some original corruption – has rendered interpretation of Latin American history peculiarly vulnerable to speculation and myth-making.
(Edwin Williamson in the introduction to his Penguin History of Latin America, 1990 revised 2009)

Urban Impulses

This is an epic exhibition, if not quite in scale, then certainly in scope. Across four rooms and two floors, the Photographers’ Gallery is showcasing some 200 works by 73 photographers from all across Latin America.

They use a wide range of techniques and approaches to chronicle every aspect of the continent’s violent politics and conflicts, its transition from a predominantly rural to a mostly urban population, its music and fiestas and cultures and traditions, its signs and streetlife, its nightclubs and dancehalls.

Most of the photographers are represented by only one or two images and so as you move from photo to photo, you are presented with a blizzard of names and biographies, not to mention a bewildering variety of countries and decades, which I found it quite challenging to get a handle on.

Cuba in the 1950s was very different from Nicaragua in the 1980s, and different again from Mexico now.

(N.B. In this review the texts in italics are copied from the thorough and very useful free handout which accompanies the exhibition.)

Calle Alameda, Santiago, 1983 by Álvaro Hoppe © Álvaro Hoppe. Courtesy of the artist

The history of Chilean photography over the past thirty years is above all that of a rupture, or a ‘tectonic shift’ caused by the military coup of 1973. Until that time, democracy had allowed the history of the medium to evolve without major disruption, but what happened in September 1973 created a generation of photographers committed to documenting the urban tragedy that subsequently emerged on the streets of Santiago during the 1970s and 80s.

As I wandered among this cornucopia of images and histories and countries and events, it struck me that there are many ways to group and arrange it – by subject matter, grouping together themes such as politics, street activism, street scenes, commercialisation, religion and, of course, every curators’ favourite topics, gender and identity.

Or you could divide them up by technique – grouping together black-and-white photos (most of them are, in fact, in black and white), colour photos, montages, collages, photojournalism, photocopies, and art works made of photos chopped up and attached to canvases. The curators back up the visitor’s sense of an impressive diversity of medium and approach:

Here a hybrid iconography emerges where photography exists in tandem with other media of mass circulation such as graphics, photo-copying and print media, often involving the marking, cutting and defacement of images where the notion of appearance and disappearance exist in tandem.

Take this striking artwork which features a collage of commercial adverts cut with urgent news photos, and then treated and painted over.

Equis (1985) by Herbert Rodríguez © Herbert Rodríguez. Courtesy of the artist

Rodriguez denounces the injustices suffered by the populations of the Andean and Amazonian regions, dominated by a process of gradual urbanisation, and, more generally, the exploitation of one part of Peruvian society by another. The approach is experimental, the materials – often salvaged from public spaces – are banal, and the collage technique allows them to be gathered together and reordered in different ways.

Another approach would be to zero in on a handful of the most famous photographers who won international reputations during the period and seek them out first – such greats as Alberto Korda from Cuba who created the iconic images of Che Guevara, or Graciela Iturbide (b.1942) from Mexico, or Sergio Larrain from Chile.

Again you could group the photographers by country because many of the photos are political, in the broadest sense, and require a knowledge of the political history of the country in question, foe xample the military dictatorships in Chile or Argentina.

In fact I realised I needed to stop and remind myself just what countries actually make up ‘Latin America’. Upon looking into it I discovered there’s a surprising amount of ambiguity about defining and framing the geography.

The term ‘Latin America’ can be taken to refer solely to ‘South America’, or to also include the many nations of Central America and the Caribbean. (Cuba always gets included, despite not being in South or Central America.)

Nations of South America by population

  1. Brazil
  2. Colombia
  3. Argentina
  4. Peru
  5. Venezuela
  6. Chile
  7. Ecuador
  8. Bolivia
  9. Paraguay
  10. Uruguay
  11. Guyana

We know these nations all have one big thing in common which is that they were colonnised by Spain or Portugal in the 16th century, and administered for centuries as key parts of their empires. So they speak the ‘Latin’ languages of Spanish and Portuguese, and hence the umbrella term ‘Latin’ America – as opposed to ‘Anglo’ America, settled by English speakers in the later 17th and 18th centuries.

Flying low, Mexico City, 1989 by Pablo Ortiz Monasterio © Pablo Ortiz Monasterio. Courtesy of the artist

Mexico is a post-apocalyptic city. It has refused to accept the many declarations of its death. it survived the devastating earthquake of 1985, and has withstood overpopulation and pollution beyond the assumed threshold of human tolerance. The country has attempted to enter the twenty-first century without yet having solved the problems of the sixteenth. – Mexican poet, essayist, novelist and short story writer José Emilio Pacheco Berny

To my surprise there’s debate about whether Mexico should be included in Central America, with lots of people, including many Mexicans, considering themselves part of North America. Incorrectly, I have included Mexico in this list of Central American nations.

Nations of Central America by population

  1. (Mexico)
  2. Guatemala
  3. Honduras
  4. El Salvador
  5. Nicaragua
  6. Costa Rica
  7. Panama
  8. Belize

Maybe the curators should have included a map, a big map, to help remind us of the precise location of all these places. (But then I’m biased. I love maps.)

Most of these nations gained their independence in stormy conflicts against the colonial powers in the early 19th century only to find themselves saddled with legacies of huge inequality and grinding rural poverty.

It was the enduring legacy of these inequalities which led to the revolutions, counter-revolutions, and military coups of the twentieth century. I well remember the era of military dictatorships in Argentina (1976-83), Brazil (1964-85), Chile (1973-90), and Paraguay (1954-89). Back in the 1970s we associated Latin America (and Greece and Spain and Portugal) with semi-fascist military dictatorships such as the notorious rule of General Pinochet of Chile. In one sense, then, many of these images fro the 1970s felt nostalgic to me.

Pinochet, 1987 by Fernando Bedoya © Fernando Bedoya. Courtesy of the artist

Fernano Bedoya is a key figure in the artistic activism of Peru and Argentina, involved notably in the latter country in the Madres de Plaza de Mayo, a group formed by mothers of young men who went missing during the military dictatorship. An irreverent artist, he plays with mass production – photography, screen printing, photocopying – and employs a hybrid iconography strongly influenced by pop culture. Committed to the democratisation of art, he has worked with several artists’ collective on participative projects with a distinctly political focus.

The nations of Latin America all have ethnically diverse societies, beginning with the fact that the native peoples of most of the colonised countries lived on, working as serfs or slaves for their European overlords, sometimes interbreeding with them, a racial mix which was then added to by large-scale importation of African slaves from the 16th to the 19th centuries, and then by migration from other, non-Iberian European countries – mostly in the 19th century.

This much most of them have in common. But each of the countries has its own geography and history and ethnic mix and traditions, which are hard to capture in such a variegated display. That’s the problem talking about this ‘region’, it’s so big and encompasses such a confusing diversity of peoples and places that it’s too easy to fall back on casual stereotypes – machismo, military dictatorships, Che Guevara guerillas, remote villages up the Amazon, the destruction of the rainforest, oh and a collection of cheesy dances that your grandparents used to like – the foxtrot, the tango, the cha-cha-cha.

In fact three or four of the photographers here are represented by pics they’ve taken of more or less the same scene, namely unglamorous, middle-aged couples from back in the day, dancing in (presumably hot and sweaty) dance halls. It’s a recurring topic.

Untitled, from the series Tango (1988) by Paz Errázuriz © Paz Errázuriz. Courtesy of the artist

‘The tango image of Paz Errázuriz, without words, music or movement, frozen at one of those key moments when the dance danced by the dancers comes into its own, affirming the authenticity of the representation of a representation.’ – Chilean poet, playwright, and novelist Enrique Lihn

In fact all this pondering and wondering how to make sense of the profusion of countries and images and artists which I spent some time trying to group or arrange, has already been partly done by the curators themselves. They have divided the exhibition up into just two big parts (one on each of the two floors across which the show is presented), and titled them Shouts and Pop-ular.

1. Shouts

To quote the curators:

Shouts considers photography’s role not only in documenting identities and presences, but also to explore absences: in the face of kidnappings and forced disappearances carried out by authoritarian regimes, photography has been a weapon against silence. Public spaces and the city walls have also played an important role: when pen and paper, laws and rights, courts and judges have failed to obtain justice, the walls of the cities have taken on a life of their own. And photographers have portrayed these walls, covered with the slogans and cries of protest of those demanding political, social, and economic recognition, and reflecting the anger and cynicism, the hopes and frustrations of the cities’ residents.

Thus a raft of images depicting street protests, street fighting, street riots, protesters fighting cops. This is one of the rare colour photos in the show.

The Battle of the Plaza de Mayo, Buenos Aires, 20 December 2001 by Eduardo Longoni © Eduardo Longoni. Courtesy of the artist

Longoni documented in colour the disturbances that took place in 2001 in response to the economic crisis and the measures taken by the government of Fernando de la Rúa, which limited cash withdrawals from the banks to 250 pesos a week. The Argentinians, with humour and irony, soon found a name for the policy: the corralito (the diminutive form of the Spanish word for ‘corraling’, which also designates, in popular Argentine Spanish, a tollders’ playground.) On 19 December 2001 a state of emergency was announced. On 20 december, early in the evening, President Fernando de la Rúa resigned. The suppression of the disturbances had taken a toll of thirty-eight deaths all over the country, including seven in Buenos Aires.

2. Pop-ular

To quote the curators:

In Pop-ular, artists’ mine the tropes of mass media and their manifestation in public spaces. Since the 1960s, as Latin America has undergone rapid development, advertising images have diversified and multiplied, marked by the rapid transition to a consumer society. The first widespread use of colour photography was in advertising, and the richness of pop culture imagery, often associated with commerce and advertising, marks the visual identity of the Latin American metropolis. Signs, patterns and typographies, often created by self-taught hands, confer on the display windows an almost innocent beauty.

Thus there are quite a few photos depicting the most obvious aspect of a consumer society, shop windows, featuring shop window mannequins, or surreal subversions of them like the shapely, naked, young woman posing amid mannequins by Jorge Vall.

This all feels very retro since, as we know, the era of physical shops is on the decline.

Leticia and Stanislas Poniatowski

This is the place to point out that the selection hasn’t been made from all the photographs taken by all 73 of these photographers from their entire careers. That would be an epic, maybe impossible, task.

No, this selection has been made from the large, but finite, collection of Leticia and Stanislas Poniatowski, who collected original prints throughout the period in question. 

Maybe this explains why, when I tried to link to some of these images, I couldn’t find any of them on the internet. Maybe they are very tightly controlled – although I did find plenty of other images by many of these photographers. As usual an exhibition like this makes a good starting point to go off on explorations of your own. But the fact that this is a selection from a selection explains some things.

Fifteenth Birthday Party in Ciudad Neza, Mexico City, Mixtecos Norte/Sur series (1989) by Eniac Martínez © Eniac Martínez. Courtesy of the artist

Produced for the Instituto Nacional Indigenista, the series Mixtecos Norte/Sur consists of photographs taken in Oaxaca and along the US-Mexico border. ‘It is the story of Mixtec indigenous people who leave their increasingly unproductive lands in the state of Oaxaca to enter the industrialised world of the United States.’ A girl’s fifteenth birthday party is a cultural milestone, not only in Mexico but all over Latin America. It involves a highly codified celebration, often accompanied by a religious ceremony, at which friends and relatives are given a lavish demonstration of the host’s generosity.

Alongside the street scenes and riots and cops and sex workers there was also a stream of images various different photographers had taken of the eerie beauty of details of Latino urban architecture – the pattern of cobbles in the street, or stripped posters on peeling walls.

Several photographers had captured the distinctive patters of tiles or brickwork to be found in local buildings, some of which harked back, maybe, to ancient Mayan or pre-Colombian sensibilities. For example, the attractive suite of photos by Pablo López Luz entitled Neo Inca.

Neo Inca LVIII, Pisac, Perú, 2016 by Pablo López Luz © Pablo López Luz. Courtesy of the artist

In the localities near Andean tourist destinations, Pablo López Luz photographs the doorways and facades of buildings and houses, adorned with the stucco relief work of Inca walls. The visual repertory drawn up in this way reflects the local taste for Inca motifs and shows how these have been grafted onto the urban context and brought up to date.

The photographers

So who exactly are the 73 photographers represented here? I’m glad you asked:

  • Carlos Aguirre (b.1948, Mexico)
  • Luiz Alphonsus (b.1948, Brazil)
  • Édgar Álvarez (b.1947, Colombia)
  • Yolanda Andrade (b.1950, Mexico)
  • Jaime Ardila (b.1942, Colombia)
  • Ever Astudillo (1948-2015, Colombia)
  • Álvaro Barrios (b. 1945, Colombia)
  • Juan Enrique Bedoya (b.1966, Peru)
  • Fernando Bedoya (1952, Peru)
  • Enrique Bostelmann (1939-2003, Mexico)
  • Bill Caro (b.1949, Peru)
  • Anselmo Carrera (1950-2016, Peru)
  • Jesús Reyes Cordero (b.1956, Mexico)
  • Armando Cristeto (b.1957, Mexico)
  • François Dolmetsch (b.1940, UK/Colombia)
  • Felipe Ehrenberg (1943-2017, Mexico)
  • Virginia Errázuriz (b.1941, Chile)
  • Paz Errázuriz (b.1944, Chile)
  • María Elvira Escallón (b.1954, Colombia)
  • José Alberto Figueroa (b.1946, Cuba)
  • Fernell Franco (1942-2006, Colombia)
  • RenéFreire (b.1952, Mexico)
  • Carlos Gallardo (b.1954, Chile)
  • Héctor García (1923-2012, Mexico)
  • Paolo Gasparini (b.1934, Venezuela)
  • Lourdes Grobet (b.1940, Mexico)
  • Billy Hare (b.1946, Peru)
  • Alejandro Hoppe (b.1961, Chile)
  • Alvaro Hoppe (b.1956, Chile)
  • Helen Hughes (b.1948, USA-Chile)
  • Graciela Iturbide (b.1942, Mexico)
  • Beatriz Jaramillo (b.1955, Colombia)
  • Mario García Joya (nee Mayito, b.1938, Cuba)
  • Alberto Korda (1928-2001, Cuba)
  • Sergio Larrain (1931-2012, Chile)
  • Adriana Lestido (b.1955, Argentina)
  • Diego Levy (b.1973, Argentina)
  • Eduardo Longoni (b.1959, Argentina)
  • Marcos López (b.1958, Argentina)
  • Héctor López (b.1955, Chile)
  • Pablo López Luz (b.1979, Mexico)
  • Ayrton de Magalhães (1954-2017, Brazil)
  • Eniac Martínez (b.1959, Mexico)
  • Agustín Martínez Castro (1950-1992, Mexico)
  • Sebastián Mejía (b.1982, Colombia)
  • Ernesto Molina (b.1952, Mexico)
  • Luis Molina-Pantin (b.1969, Venezuela)
  • Pablo Ortiz Monasterio (b.1952, Mexico)
  • Mario Cravo Neto (1947-2009, Brazil)
  • Viki Ospina (b.1948, Colombia)
  • Adolfo Patiño (1954-2005, Mexico)
  • Claudio Pérez (b.1957, Chile)
  • Ataúlfo Pérez Aznar (b.1955, Argentina)
  • Jaime Razuri (b.1956, Peru)
  • Santiago Rebolledo (b.1951, Colombia)
  • Miguel Rio Branco (b.1946, Brazil)
  • Herbert Rodríguez (b.1959, Peru)
  • Miguel Ángel Rojas (b.1946, Colombia)
  • Jesús Ruiz Durand (b.1940, Peru)
  • Osvaldo Salerno (b.1952, Paraguay)
  • Francisco Smythe (1952-1998, Chile)
  • Carlos Somonte (b.1956, Mexico)
  • Milagros de la Torre (b.1965, Peru)
  • Nicolás Torres (b.1957, Peru)
  • Juan Travnik (b.1950, Argentina)
  • Sergio Trujillo (b.1947, Colombia)
  • Jorge Vall (b.1949, Venezuela)
  • Pedro Valtierra (b.1955, Mexico)
  • JoséLuis Venegas (b.1944, Mexico)
  • Leonora Vicuña (b.1952, Chile)
  • Jaime Villaseca (b.1949, Chile)
  • Enrique Zamudio (b.1955, Chile)
  • Helen Zout (b.1957, Argentina)
  • Facundo de Zuviría (b.1954, Argentina)

And where would any exhibition of modern photography be without images of transvestites and transgender sex workers?

From 10 to 11 p.m., Mexico City (1985) by Agustín Martínez Castro © Agustín Martínez Castro Estate. Courtesy of the artist’s estate

In the photographs of Agustín Martínez Castro, the city is embodied in the anonymous inhabitants of its nights. The photographer is one o the most sensitive and profound chroniclers of the world of transvestism. Far removed from all sense of visual pathos, Martínez Castro offers an dmirable photo essay on private life, understood as a realm of intimacy, which is celebrated here, and on the stripping away of that intimacy, which is denounced. – Art historian, curator, and editor Roberto Tejada

Summary

If I’m honest, I didn’t like many of the photos in this exhibition. There are lots of them, and I suppose there’s lots of variety, but somehow I found the sheer number, and the hopping from one country to another, and from one decade to another, diluted and lessened their impact.

Hardly any of them have the standout lyricism and compositional genius of the thirteen prints by Manuel Álvarez Bravo which are currently on display down in the basement of the same building. Each one of those took my breath away.

And after reading and rereading the handout which includes almost every photo in the show, I realised that I was bored. There’s certainly an impressive range of technical diversity – many collages and montages and artistic treatments of photographic images, incorporating them into multi-media artworks. And ten or fifteen of the images did really stand out.

But almost all of these photos are images taken on the street. They almost all have a scrappy, hand-held quality. There isn’t a single one composed in a studio, and not a single one of a landscape, to give two types of photo which are completely absent. It’s shabby, urban sprawl everywhere you look.

Rough street people in rundown looking slums and dodgy neighbourhoods. Scary street punks, one or two convicts in prison. And plenty of scenes of cops and soldiers policing the street, and riots, and people getting beaten up. Grim-faced soldiers. Grim-faced dictators. Grim-faced revolutionaries. Grim-faced prostitutes. Grim-faced hoodlums, tearful mothers protesting against the disappearance of their sons, photomontages commemorating people killed in riots, tattooed gang members.

Untitled (Aquileo Valtierra González), Prisoners series, Mexico (1997) by Carlos Somonte © Carlos Somonte. Courtesy of the artist

Again I was reminded that the whole exhibition is taken from the private collection of Leticia and Stanislas Poniatowski. In other words – far from being a representative survey of all Latin American photography, this is a selection from a selection. A personal selection. A personal view of the politics and history of this continent and this era.

After a while it dawned on me that what was oppressing me was there was no joy or happiness in any of the photos. Surely someone, somewhere, in all these 20 or so countries, in the long period between 1959 and 2016, surely someone, somewhere, smiled. Maybe even laughed. Looked at the blue sky, the river, the trees and the exotic flowers in the botanical garden, and was happy? Is Copacabana beach not in Latin America? And hundreds of sun-kissed Caribbean beaches? Have there been no tourists in Latin America, no beaches and parties?

Not in these photos. Not in this exhibition. Glum and grim and earnest and embattled everywhere you look.

Curators

The exhibition is curated by María Wills and Alexis Fabry.

Demographics

The exhibition is divided between two rooms on floor 3 of the Photographers’ Gallery, and two rooms on the floor below. I visited about noon on a Wednesday. On one floor there were four teenage girl visitors. On the floor below there was just one middle-aged woman. That was it.

Shame. This exhibition deserves more visitors than that.


Related links

Reviews of other photography exhibitions

The Honorary Consul by Graham Greene (1973)

‘Contrary to common belief the truth is nearly always funny. It’s only tragedy which people bother to imagine or invent.’ (p.21)

Greene in the 1970s

Greene was 69 when this novel was published, entering his fifth decade of astonishing productivity – an output which included prize-winning novels, short stories, Oscar-winning film scripts and plays – and was widely seen as the greatest living English writer of the day.

He had done this in part by mining a narrow vein of themes with obsessive repetitiveness until they were completely identified with him and the phrase ‘Greeneland’ had been coined to describe the imaginary landscape where they met:

  • a gloomy despairing Roman Catholic faith which tortures its believers more than it consoles or uplifts
  • a nihilistic view of human life which leads the protagonists in his most famous novels to kill themselves or seek out death
  • adultery, ideally of the kind that makes the lovers miserable as sin
  • an unerring eye for the seedy or squalid or shabby details of failed lives and disappointed souls
  • a fondness for poverty-stricken war-torn foreign locations such as Mexico, Sierra Leone, Vietnam, Cuba, Congo and – in this novel – Argentina run by a military dictatorship

Therefore, part of the pleasure of reading Greene is not only for the prose and story, but in greeting all the familiar tropes which dominate his narratives: it is like saying hello to a gang of old lags: hello to the comfortably familiar pessimism, hello to the reassuringly predictable focus on the seedy side of life, a negativity so relentless that it risks becoming comic despite itself, a bit like Fraser’s cry, ‘We’re doomed, we’re doomed,’ in Dad’s Army.

Hope creaked in his throat like a piece of rusty machinery. (p.23)

The Honorary Consul part 1

The Honorary Consul does not disappoint in its heartless depiction of disappointment. It is set in a remote city in northern Argentina, near the river border with Paraguay (still under the military rule of General Stroessner). The Latin American location immediately is painted vividly: from the horribleness of the military government – one of the characters has three fingers missing, cut off by his torturers under the eye of CIA ‘supervisors’, and the narrator casually mentions the bodies of political murderees washed up on the Argentine side of the river – to the heat which makes everyone sweaty and weary, the ubiquitous atmosphere of Latino slackness and corruption.

‘Assassinations, kidnapping, the torture of prisoners – these things belong to our decade.’ (p.57)

It opens with middle-aged Dr Plarr looking across the wide river at sunset and remembering how he was abandoned by his English father, who shipped him and his mother off to Buenos Aires while staying on in Paraguay to fight the junta. Failure disappointment disillusion. His mother has, of course, not worn well, instead becoming a querulous old lady fussing about her lost estates –

He felt the same sense of wasted time as when he visited his mother and she complained of headaches and loneliness while she sat before a plate heaped up with éclairs in the best teashop of Buenos Aires. (p.51)

– and it was partly to escape her that he chose to take up the medical appointment here at this remote outpost near the border. (How 1930s it sounds.)

Dr Plarr goes to meet the only other Brit in town, Humphries, at the local hotel where, of course, the food is disgusting, produced by a depressed Hungarian chef, the restaurant is empty, the solitary waiter can barely summon up the life to serve them. Plarr, inevitably, notices that the nicotine stains in Humphries’ thin white hair are the same colour as the goulash stains on his napkin. The entire sequence is a showroom display of Greene’s eagle eye for the seedy, shabby, dispiriting and defeated in human existence.

Almost the only institution the narrator mentions with enthusiasm is the brothel, whose madam, we are assured (twice) and with heavy irony, is the wealthiest woman in town.

Señora Sanchez was a very stout lady with a dimpled face and a welcoming smile from which kindliness was oddly lacking, as though it had been mislaid accidentally a moment before like a pair of spectacles. (p.55)

‘like a pair of spectacles’ – it is a characteristically crisp and effective simile, but also characteristically detached and with the note of slightly lofty Edwardian gentility which is the tone of the whole book.

The general air of incompetence, failure and collapse is racked up as the plot is now disclosed to us: the American ambassador has been visiting the city and a gang of ‘rebels’ and ‘freedom fighters’ has used information which Dr Plarr provided them with to ambush his car. Except that, through a sequence of mistakes, they pull over the wrong car and stop the one carrying Dr Plarr’s friend, the ageing, fat British alcoholic Charley Fortnum. Some while ago Fortnum was made Britain’s ‘honorary consul’ in the city and he had been roped in at the last minute to translate from the local Spanish for the US ambassador – and now finds himself ambushed, kidnapped, drugged and carried off to a mud hut in one of the city’s poorest barrios. Plarr is rung up by the rebels in the middle of the night to be informed of this disastrous mistake.

Adultery 1 It wouldn’t be a Greene novel without adultery, his favourite subject and one he was an enthusiastic practitioner of in real life (see the numerous biographies). Dr Plarr is, inevitably, having an affair with ‘his friend’ Charley Fortnum’s wife, Clara. As Plarr tells the police inspector:

‘Charley Fortnum is a friend of mine.’
‘Oh, a friend… It is usually a friend one betrays, isn’t it, in these cases?’ (p.89)

In fact, he was first attracted to her when he saw her working in Señora Sanchez’ brothel – she is a prostitute who Fortnum, with his own kind of ageing white male condescension, fancies he has ‘rescued’. Some time after the marriage, Plarr meets Clara at a chemists shop where she’s buying fancy sunglasses, one thing leads to another and she goes back to his apartment to sleep with him. He’s not very enthusiastic about the situation but keeps on seeing and sleeping with her until he eventually gets her pregnant – she claims she knows for certain, since Fortnum rarely has sex with her – thus creating numerous ‘ironic’ situations where Plarr has to congratulate Fortnum on the old chap’s good fortune ha ha.

Betrayal And not only has Plarr betrayed Fortnum by impregnating his wife, but now – albeit inadvertently – he finds himself instrumental in the absurd mistake of kidnapping him. It all came about because Plarr was approached one day at his surgery by the rebel leader, who he was at school with decades ago, and who persuades Plarr to pass on the timetable of the ambassador’s trip. The plan is to kidnap the American ambassador and hold him hostage until the General, ruler of Paraguay, releases 10 political prisoners there, including Plarr’s own long-separated father – that’s Plarr’s motivation for agreeing. But nobody knew Fortnum would be going along to interpret for the ambassador, and so the rebels intercept the first car driving the agreed route and it turns out to be the one Fortnum is travelling in, since the ambassador’s one was full and following a little way behind.

The plot 2

In the first half the plot is meandering and leisurely with loads of flashbacks to earlier encounters and conversations, which makes it occasionally confusing. From about page 180 the pace picks up as Plarr finds himself agreeing to go out to the mud hut where the rebels are hiding to treat Fortnum, who they injured when he made an escape attempt.

Once he is there, however, they refuse to let him leave. And for the remaining 50 pages of the novel the rebel leader-cum-failed priest and his common law wife Marta, loverboy Plarr, injured drunk Fortnum, and three other rebels, are all trapped in the two rooms of the mud hut, a setting which quickly becomes a kind of pressure cooker or incubator for a whole stream of increasingly programmatic discussions about Greene’s favourite things: adultery, sex, God, sin, despair, the meaning of life.

Presumably these final 50 pages are meant to be nerve-racking – a small cast of characters trapped in a static and hermetic setting, they read as if cannibalised from a particularly claustrophobic play – all with the looming threat of an army attack closing in even as the victims squabble among themselves.

I suppose in 1973 it was new territory to describe what it’s like to be kidnapped by revolutionary terrorists, and it is immensely to Greene’s credit that he escaped the parochial Aga sagas of middle class English fiction to set his novels in such a wide variety of exotic settings.

It is unfortunate, then, that what the squabbling and discussions feel so sixth-formish, like sessions at a theological college, a rather lurid rehash of the usual Greene themes. Maybe if this was the first Greene novel you ever read it would hit you like a thunderbolt, the dramatic setting, the life and death debates. But if you’ve read more than three or four, the effect is more like a rather weary sense of déjà lu.

Meandering

The first 180 pages or so have a very slow leisurely meandering pace. After the revelation in the first 20 pages or so that the rebels have got the wrong man, the text switches to a long series of flashbacks describing Plarr’s first encounter with Fortnum, companionable trips to the brothel, dinners with the tiresome local novelist, visits to his mother in Buenos Aires. Each scene has a point in illuminating the characters, but they are described in a languid easygoing manner which, more than the meaning of the words, convey a certain Latin American laziness to the whole text.

Greene’s novels generally have complex time schemes which allow for plenty of hindsight and memory: The End of The Affair in particular has a cunning interweaving of scenes from multiple moments in the past, and this – for me – is the most impressive aspect of many of his novels, the construction of narratives which work at multiple moments, simultaneously.

But this one feels significantly slower than the others, more leisurely, the interweaving more of a meandering, most of the action having the quality almost of a dream.

There is no feeling that Dr Plarr – supposedly in his thirties – actually does any work. He wanders around the town, reading novels and chatting with the small group of characters in a supremely relaxed easygoing way. These first two-thirds of the novel have a pleasantly soporific effect.

Middle-aged male fantasy

This is not unconnected to the way it is tempting to read the whole novel as a kind of middle-aged male fantasy: you don’t do any work; you lie around all day reading; meet up with friends in the evening to enjoy a meal and a drink and a chat; nobody minds if you stroll round to the whorehouse which is full of attractive and compliant women; which one tonight, you wonder, as you puff on your cigar; or you may prefer to dally with one of your three or four mistresses. And all the time you can be mulling over your own sinfulness, tutting at the way you manipulate your women, elegantly toying with the psychology of sex and adultery and relationships and more sex.

Plarr looks at his devout secretary and wonders why he hasn’t slept with her yet. On the plane back from Buenos Aires he is buttonholed by one of his mistresses, a patient, which leads him to remember having sex with her at her home while her husband was in the room, though drunkenly asleep. He remembers bumping into this woman’s husband at the brothel where the husband was entertaining no fewer than four prostitutes. He remembers a number of other patients who became lovers. He wanders along to the brothel and has a girl and sizes up several others, including the future Mrs Fortnum. It’s in the same lazy inconsequential way that he starts the affair with Fortnum’s wife. After Fortnum is kidnapped he drives out to his house to comfort her, and again they have sex. When he chats to the chief of police they laugh and joke about the women they have both had affairs with. Ha ha ha. Everyone appears to be having sex with everyone else…

Apart from the descriptions of sex (on the whole mercifully brief) these many sexual situations allow Greene to write a lot about the psychology of sex in a man-of-the-world tone which many a modern woman might find offensive and I find rather complacent, but which appears to have appealed to lots of his male reviewers back in the 1970s. All his books contain these quotable quotes, sub-Wildean aphorisms, without the wit or the heart.

Secrecy, he thought, is part of the attraction in a sexual affair. An open affair has always a touch of absurdity. (p.90)

In a real love affair, he thought, you are interested in a woman because she is someone distinct from yourself; then bit by bit she adapts herself to you, she picks up your habits, your ideas, even your turns of phrase, she becomes part of you, and then what interest remains? One cannot love oneself, one cannot live for long close to oneself – everyone has need of a stranger in the bed, and a whore remains a stranger. Her body has been scrawled over by so many men that you can never decipher your own signature there. (p.90)

He began to comfort her with his hand as he would have comforted a frightened dog, and gently, without intention, they came together. He felt no lust, and when she moaned and tightened, he felt no sense of triumph. He wondered with sadness, why did I ever want this to happen? Why did I think it would be a victory? There seemed to be no point in playing the game since now he knew what moves he had to make to win. (p.97)

‘A husband is of great importance in a love affair. He is a way of escape when an affair begins to get boring.’ (p.174)

‘I’ve often noticed,’ Dr Plarr said, ‘when a man leaves a woman he begins to hate her. Or is it that he hates his own failures? Perhaps we want to destroy the only witness who knows exactly what we are like when we drop the comedy.’ (p.216)

And much, much more in the same worldly-wise, one man-of-the-world to another, vein. Maybe this depiction of characters with a very un-English, unashamed and liberal attitude to sex explains his popularity in the 1960s and 70s.

Catholicism In a move which should surprise nobody it turns out the alcoholic honorary consul is a lapsed Catholic, much given to maudlin, drunken, religiose self-pity. Just, in fact, like scores of other Greene characters. To double the dose, the leader of the ‘rebels’ is a lapsed Catholic priest, too. And Plarr was of course raised a Catholic: a trinity of religion-obsessed characters! Which enables them, in the final 50 pages of the book, to have numerous discussions of Catholic ‘issues’ ie for Greene to drop into the text numerous Catholic one liners or paragraphs of bumf, of which he seems able to spin a literally endless amount.

Plarr said, ‘I doubt if her Confession will take very long.’
‘Those who have nothing to confess always take the longest,’ Léon Rivas said. ‘They want to please the priest and give him something to do.’ (p.102)

They always treated him with great courtesy, he noticed… Or was it perhaps the habitual courtesy which a prison warder is said to show even the most brutal murderer before his execution? People have the same awed respect for death as they have for a distinguished stranger, however unwelcome he may be, who visits their town. (p.119)

‘People have the same respect for death as they have for a distinguished stranger… who visits their town.’ That’s gibberish, isn’t it?

‘It is one of the duties of a father to provide.’
‘And God the Father, Léon? He doesn’t seem to provide much. I asked last night if you still believed in him. To me he has always seemed a bit of a swine. I would rather believe in Apollo. At least he was beautiful.’
‘The trouble is we have lost the power to believe in Apollo, Father Rivas said. ‘We have Jehovah in our blood. We can’t help it. After all these centuries Jehovah lives in our darkness like a worm in the intestines.’ (p.216)

It seems to me that Greene has the same attitude of amused complacency towards the Catholic faith as he does to sex, prostitution and infidelity: there is nothing genuinely threatening or disruptive in his description of either: you get the impression he could write hundreds and hundreds of pages of smoothly expressed truisms and bromides about sex or about religion, none of which are really true, none of which ever really making the reader sit up and think. They’re a sort of rhetorical accompaniment, pseudo-philosophical tinsel hung on the melodrama of the plot.

By the end the rebels, after much arguing, convince themselves they need to kill Fortnum if their demands are not met by the deadline they’ve set, otherwise this kind of kidnap will never be taken seriously, the revolution will never happen, justice will never be secured. Specifically, this leads to a series of debates between Plarr and the priest-turned-rebel, Father Rivas, which easily segue into colourful conversations about the character of God, which casually go off in all kinds of wild and imaginative directions.

‘When you shoot Fortnum in the back of the head, are you sure you won’t have a moment’s fear of old Jehovah and his anger? “Thou shalt not commit murder.”‘
‘If I kill it will be God’s fault as much as mine’
‘God’s fault.’
‘He made me what I am now. He will have loaded the gun and steadied my hand.’
‘I thought the Church teaches that he’s love.’
‘Was it love which sent six million Jews to the gas ovens? You are a doctor, you must often have seen intolerable pain – a child dying of meningitis – is that love? It was not love which cut off Aquino’s fingers. The police station where such things happen… He created them.’
‘I have never heard a priest blame God for things like that before.’
‘I don’t blame Him. I pity Him,’ Father Rivas said. (p.219)

Rubbing it in

In case anyone hadn’t realised Greene’s ultimately despairing view of the world, he rubs it in at the climax of the novel by having Dr Plarr killed as he tries to parley a truce with the surrounding military.

Fortnum is returned to his wife in one piece but, having discovered during his ordeal that the child she is carrying is really Plarr’s, his love, his happiness, is destroyed.

And, in a final bitter twist, the British ambassador in Buenos Aires, in a hurry to get Fortnum off the payroll but keen to ensure his acquiescence, tells him they’re relieving him of the position of honorary consul but will be offering compensation in the form of a medal for services rendered to Queen and country, in fact the Order of the British Empire.

Ha, the futility. Oh the humanity.

The movie

The Honorary Consul was made into a British movie, released in 1983, directed by John Mackenzie and starring Michael Caine in sweaty, middle-aged alcoholic mode, along with Richard Gere, Bob Hoskins and Elpidia Carrillo.

Related links

Greene’s books

  • The Man Within (1929) One of the worst books I’ve ever read, a wretchedly immature farrago set in a vaguely described 18th century about a cowardly smuggler who betrays his fellows to the Excise men then flees to the cottage of a pure and innocent young woman who he falls in love with before his pathetic inaction leads to her death. Drivel.
  • The Name of Action (1930) (repudiated by author, never republished)
  • Rumour at Nightfall (1931) (repudiated by author, never republished)
  • Stamboul Train (1932) A motley cast of characters find out each others’ secrets and exploit each other on the famous Orient Express rattling across Europe, climaxing in the execution of one of the passengers, a political exile, in an obscure rail junction, and all wound up with a cynical business deal in Istanbul.
  • It’s a Battlefield (1934) London: a working class man awaits his death sentence for murder while a cast of seedy characters, including a lecherous HG Wells figure, betray each other and agonise about their pointless lives.
  • England Made Me (1935) Stockholm: financier and industrialist Krogh hires a pretty Englishwoman Kate Farrant to be his PA/lover. She gets him to employ her shiftless brother Anthony who, after only a few days, starts spilling secrets to the seedy journalist Minty, and so is bumped off by Krogh’s henchman, Hall.
  • A Gun for Sale (1936) England: After assassinating a European politician and sparking mobilisation for war, hitman Raven pursues the lecherous middle man who paid him with hot money to a Midlands town, where he gets embroiled with copper’s girl, Anne, before killing the middle man and the wicked arms merchant who was behind the whole deal, and being shot dead himself.
  • Brighton Rock (1938) After Kite is murdered, 17 year-old Pinkie Brown takes over leadership of one of Brighton’s gangs, a razor-happy psychopath who is also an unthinking Catholic tormented by frustrated sexuality. He marries a 16 year-old waitress (who he secretly despises) to stop her squealing on the gang, before being harried to a grisly death.
  • The Confidential Agent (1939) D. the agent for a foreign power embroiled in a civil war, tries and fails to secure a contract for British coal to be sent to his side. He flees the police and unfounded accusations of murder, has an excursion to a Midlands mining district where he fails to persuade the miners to go on strike out of solidarity for his (presumably communist) side, is caught by the police, put on trial, then helped to escape across country to a waiting ship, accompanied by the woman half his age who has fallen in love with him.
  • The Lawless Roads (1939) Greene travels round Mexico and hates it, hates its people and its culture, the poverty, the food, the violence and despair, just about managing to admire the idealised Catholicism which is largely a product of his own insistent mind, and a few heroic priests-on-the-run from the revolutionary authorities.
  • The Power and the Glory (1940) Mexico: An unnamed whisky priest, the only survivor of the revolutionary communists’ pogrom against the Catholic hierarchy, blunders from village to village feeling very sorry for himself and jeopardising lots of innocent peasants while bringing them hardly any help until he is caught and shot.
  • The Ministry of Fear (1943) Hallucinatory psychological fantasia masquerading as an absurdist thriller set in London during the Blitz when a man still reeling from mercy-killing his terminally ill wife gets caught up with a wildly improbable Nazi spy ring.
  • The Heart of The Matter (1948) Through a series of unfortunate events, Henry Scobie, the ageing colonial Assistant Commissioner of Police in Freetown, Sierra Leone, finds himself torn between love of his wife and of his mistress, spied on by colleagues and slowly corrupted by a local Syrian merchant, until life becomes intolerable and – as a devout Catholic – he knowingly damns himself for eternity by committing suicide. Whether you agree with its Catholic premises or not, this feels like a genuinely ‘great’ novel for the completeness of its conception and the thoroughness of its execution.
  • The Third Man (1949) The novella which formed the basis for the screenplay of the famous film starring Orson Welles. Given its purely preparatory nature, this is a gripping and wonderfully-written tale, strong on atmosphere and intrigue and mercifully light on Greene’s Catholic preachiness.
  • The End of The Affair (1951) Snobbish writer Maurice Bendrix has an affair with Sarah, the wife of his neighbour on Clapham Common, the dull civil servant, Henry Miles. After a V1 bomb lands on the house where they are illicitly meeting, half burying Bendrix, Sarah breaks off the affair and refuses to see him. Only after setting a detective on her, does Bendrix discover Sarah thought he had been killed in the bombing and prayed to God, promising to end their affair and be ‘good’ if only he was allowed to live – only to see him stumbling in through the wrecked doorway, from which point she feels duty bound to God to keep her word. She sickens and dies of pneumonia like many a 19th century heroine, but not before the evidence begins to mount up that she was, in fact, a genuine saint. Preposterous for most of its length, it becomes genuinely spooky at the end.
  • Twenty-One Stories (1954) Generally very short stories, uneven in quality and mostly focused on wringing as much despair about the human condition as possible using thin characters who come to implausibly violent endings – except for three short funny tales.
  • The Unquiet American (1955) Set in Vietnam as the French are losing their grip on the country, jaded English foreign correspondent, Thomas Fowler, reacts very badly to fresh-faced, all-American agent Alden Pyle, who both steals his Vietnamese girlfriend and is naively helping a rebel general and his private army in the vain hope they can form a non-communist post-colonial government. So Fowler arranges for Pyle to be assassinated. The adultery and anti-Americanism are tiresome, but the descriptions of his visits to the front line are gripping.
  • Loser Takes All (1955) Charming comic novella recounting the mishaps of accountant Bertram who is encouraged to get married at a swanky hotel in Monte Carlo by his wealthy boss who then doesn’t arrive to pick up the bill, as he’d promised to – forcing Bertram to dabble in gambling at the famous Casino and becoming so obsessed with winning that he almost loses his wife before the marriage has even begun.
  • Our Man In Havana (1958) Comedy about an unassuming vacuum cleaner salesman, Jim Wormold, living in Havana, who is improbably recruited for British intelligence and, when he starts to be paid, feels compelled to manufacture ‘information’ from made-up ‘agents’. All very farcical until the local security services and then ‘the other side’ start taking an interest, bugging his phone, burgling his flat and then trying to bump him off.
  • A Burnt-Out Case (1960) Tragedy. Famous architect Querry travels to the depths of the Congo, running away from his European fame and mistress, and begins to find peace working with the local priests and leprosy doctor, when the unhappy young wife of a local factory owner accuses him of seducing her and fathering her child, prompting her husband to shoot Querry dead.
  • The Comedians (1966) Tragedy. Brown returns to run his hotel in Port-au-Prince, in a Haiti writhing under the brutal regime of Papa Doc Duvalier, and to resume his affair with the ambassador’s wife, Martha. A minister commits suicide in the hotel pool; Brown is beaten up by the Tontons Macoute; he tries to help a sweet old American couple convert the country to vegetarianism. In the final, absurd sequence he persuades the obvious con-man ‘major’ Jones to join the pathetic ‘resistance’ (12 men with three rusty guns), motivated solely by the jealous (and false) conviction that Jones is having an affair with his mistress. They are caught, escape, and Brown is forced to flee to the neighbouring Dominican Republic where the kindly Americans get him a job as assistant to the funeral director he had first met on the ferry to Haiti.
  • Travels With My Aunt (1969) Comedy. Unmarried, middle-aged, retired bank manager Henry Pullman meets his aunt Augusta at the funeral of his mother, and is rapidly drawn into her unconventional world, accompanying her on the Orient Express to Istanbul and then on a fateful trip to south America, caught up in her colourful stories of foreign adventures and exotic lovers till he finds himself right in the middle of an uncomfortably dangerous situation.
  • The Honorary Consul (1973) Tragedy. Dr Eduardo Plarr accidentally assists in the kidnapping of his friend, the alcoholic, bumbling ‘honorary consul’ to a remote city on the border of Argentina, Charley Fortnum, with whose ex-prostitute wife he happens to be having an affair. When he is asked to go and treat Fortnum, who’s been injured, Plarr finds himself also taken prisoner by the rebels and dragged into lengthy Greeneish discussions about love and religion and sin and redemption etc, while they wait for the authorities to either pay the ransom the rebels have demanded or storm their hideout. It doesn’t end well.
  • The Human Factor (1978) Maurice Castle lives a quiet, suburban life with his African wife, Sarah, commuting daily to his dull office job in a branch of British Security except that, we learn half way through the book, he is a double agent passing secrets to the Russians. Official checks on a leak from his sector lead to the improbable ‘liquidation’ of an entirely innocent colleague which prompts Castle to make a panic-stricken plea to his Soviet controllers to be spirited out of the country. And so he is, arriving safely in Moscow. But to the permanent separation with the only person he holds dear in the world and who he was, all along, working on behalf of – his beloved Sarah. Bleak and heart-breaking.
  • Monsignor Quixote (1982) Father Quixote is unwillingly promoted monsignor and kicked out of his cosy parish, taking to the roads of Spain with communist ex-mayor friend, Enrique ‘Sancho’ Zancas, in an old jalopy they jokingly nickname Rocinante, to experience numerous adventures loosely based on his fictional forebear, Don Quixote, all the while debating Greene’s great Victorian theme, the possibility of a doubting – an almost despairing – Catholic faith.
  • The Captain and The Enemy (1988) 12-year-old Victor Baxter is taken out of his boarding school by a ‘friend’ of his father’s, the so-called Captain, who carries him off to London to live with his girlfriend, Liza. Many years later Victor, a grown man, comes across his youthful account of life in this strange household when Liza dies in a road accident, and he sets off on an adult pilgrimage to find the Captain in Central America, a quest which – when he tells him of Liza’s death – prompts the old man to one last – futile and uncharacteristic – suicidal gesture.
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