When was borges y yo written

I shall remain in Borges, not in myself if it is true that I am someone , but I recognize myself less in his books that in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I will have to devise other things.

Thus my life is a flight and I lose everything and everything belong to oblivion, or to the other. What if it was their publicist or even their social media assistant who monitors and runs their Twitter account for them? Is there a difference? And that relationship has only become more fraught in the last few decades.

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The voice in the first-person creates a distance between the "I" and the proper name "Borges," and we are led to believe that this "I" is closer to a "real person," Jorge Luis Borges, who lived in Buenos Aires and had a personal life only distantly related to the "fictive" "Borges" known only in the media and through books and other writings.

But read on: is this "I" a voice representing a "real self," or is it another layer of fiction, a convention, the biographical "I," which Borges knows is a traditional and literary creation? The narrator, close to an authorial "I"--or is it? Borges knows that we refer to all of these social, linguistic, and psychological qualities by the simple pronoun "I".

The first-person narrator describes activities of a private self, and not the official and public details of the life of "Borges," who is named in lists and biographical dictionaries. The "author function" takes over, and the name "Borges" has a role in public discourse outside the control of the writer or self behind the writings.

The author in his public and literary role inevitably turns all the personal likes and tastes of the real-life person into an act, a role, or a piece of literary fiction. The biography of "Borges" known from publicly documented sources, the narrator suggests, is also contrived, fictive, and conventional since it must conform to our notions of "a writer's biography" or "the life of the author. The real person goes on so that the persona can exist.

It was likely written in the s, some years before it was published. We might guess, since Borges is still able to stop and look at the arch of the old entryway in the first sentence, that it was written before his sight deteriorated drastically in But he could also be examining the entranceway in memory or even be making it out hazily after the onset of blindness.

An outspoken opponent of the regime, he was forced from his post in a municipal library. After undergoing psychoanalysis to help him overcome his fear of public speaking, he made a living travelling the country lecturing on literature. His fame was increasing, both inside Argentine and abroad, especially through the publication of translations of his famous s fictions in French literary magazines. But by all accounts Borges was a deeply unhappy man in his forties and fifties.

His long, tortured relationship with the poet, Estela Canto, ended around , apparently unconsummated. Borges still lived with his mother; by his sight had worsened to such an extent that his doctor advised him to stop reading. For half a century now, this two-paragraph, one page prose meditation has been the subject of an insane amount of critical commentary.

One critical essay by Kane X. Fausher, in the specialist journal, Variaciones Borges , weighs in at words the Spanish text is words. Fausher proposes three readings: 1.