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Finzioni by Jorge L. Borges
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Finzioni (original 1944; edition 2004)

by Jorge L. Borges

MembersReviewsPopularityAverage ratingMentions
4,699721,009 (4.4)175
Member:Giangi
Title:Finzioni
Authors:Jorge L. Borges
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Collections:Read but unowned
Rating:***1/2
Tags:Narrativa argentina

Work details

Fictions by Jorge Luis Borges (1944)

  1. 70
    Collected Fictions by Jorge Luis Borges (Carnophile)
    Carnophile: While Ficciones is a subset of Collected Fictions, it is nice to have two translations of the same material. Each translator captures nuances the other misses.
  2. 60
    The Aleph and Other Stories by Jorge Luis Borges (VanishedOne)
  3. 51
    Invisible Cities by Italo Calvino (Carnophile)
    Carnophile: Both books are liesurely contemplations of fantastical situations, not plot- or character-driven, but conceptual.
  4. 20
    The Martian Chronicles by Ray Bradbury (lewbs)
    lewbs: Borges admired The Martian Chronicles. The two books have much in common.
  5. 00
    House of Leaves by Mark Z. Danielewski (fundevogel)
  6. 00
    The Periodic Table by Primo Levi (Eustrabirbeonne)
  7. 01
    Minor Angels by Antoine Volodine (Eustrabirbeonne)
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» See also 175 mentions

English (56)  Spanish (6)  French (3)  Italian (3)  Catalan (1)  Swedish (1)  English (1)  Portuguese (1)  English (72)
Showing 1-5 of 56 (next | show all)
Contiene:
El jardín de los senderos que se bifurcan
Artificios
  GiselleFagioli | Nov 26, 2016 |
Brilliant but difficult. Full of references to philosophy, literature, history and myth, and here and there allusions are, as in my case, lost on the reader. Luckily, even without possessing the knowledge Borges did, these stories are still fantastic, ranging from philosophical puzzles to timeless, settingless mysteries.

Almost every story has a revelation of sorts at the end, but one never knows what it is going to be, or if it happened at all, or if it was dreamt up or imagined. Noone writes like Borges did. Umberto Eco has tried, but whereas with his work one tends to feel lost and confused, out of one's depth in history, Borges always manages to write sharply, without wasting a word.
  bartt95 | Jun 22, 2016 |
Tankeeperiment och stor skönlitteratur på en och samma gång. ( )
  Arwid | Jun 14, 2016 |
This book is nothing but bafflegab.
  ShelleyAlberta | Jun 4, 2016 |
There is something about South American writing I just don't seem to get. I found these stories strange & while not disagreeable, I couldn't really understand the purpose of many of them. Borges often uses the device of a labyrinth or maze & many of the stories revolve around a discussion of another (imaginary) book, which also struck me as a kind of maze (a story in a story in a story). Are these layers representing personality or reality or religion or something like that? I suppose so... I will have to think it over some more. ( )
  leslie.98 | Jan 15, 2016 |
Showing 1-5 of 56 (next | show all)
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» Add other authors (61 possible)

Author nameRoleType of authorWork?Status
Jorge Luis Borgesprimary authorall editionscalculated
Bonner, AnthonyTranslatorsecondary authorsome editionsconfirmed
Håkansson, GabriellaForewordsecondary authorsome editionsconfirmed
Kerrigan, AnthonyTranslatorsecondary authorsome editionsconfirmed
Lucentini, F.Translatorsecondary authorsome editionsconfirmed
Lucentini, FrancoTranslatorsecondary authorsome editionsconfirmed
Reid, AlastairTranslatorsecondary authorsome editionsconfirmed
Sturrock, JohnIntroductionsecondary authorsome editionsconfirmed
Temple, HelenTranslatorsecondary authorsome editionsconfirmed
Todd, RuthvenTranslatorsecondary authorsome editionsconfirmed
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I owe the discovery of Uqbar to the conjunction of a mirror and an encyclopedia.
Debbo la scoperta di Uqbar alla congiunzione di uno specchio e di un'enciclopedia.
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(Click to show. Warning: May contain spoilers.)
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Amazon.com Amazon.com Review (ISBN 0802130305, Paperback)

Reading Jorge Luis Borges is an experience akin to having the top of one's head removed for repairs. First comes the unfamiliar breeze tickling your cerebral cortex; then disorientation, even mild discomfort; and finally, the sense that the world has been irrevocably altered--and in this case, rendered infinitely more complex. First published in 1945, his Ficciones compressed several centuries' worth of philosophy and poetry into 17 tiny, unclassifiable pieces of prose. He offered up diabolical tigers, imaginary encyclopedias, ontological detective stories, and scholarly commentaries on nonexistent books, and in the process exploded all previous notions of genre. Would any of David Foster Wallace's famous footnotes be possible without Borges? Or, for that matter, the syntactical games of Perec, the metafictional pastiche of Calvino? For good or for ill, the blind Argentinian paved the way for a generation's worth of postmodern monkey business--and fiction will never be simply "fiction" again.

Its enormous influence on writers aside, Ficciones has also--perhaps more importantly--changed the way that we read. Borges's Pierre Menard, for instance, undertakes the most audacious project imaginable: to create not a contemporary version of Cervantes's most famous work but the Quixote itself, word for word. This second text is "verbally identical" to the original, yet, because of its new associations, "infinitely richer"; every time we read, he suggests, we are in effect creating an entirely new text, simply by viewing it through the distorting lens of history. "A book is not an isolated being: it is a relationship, an axis of innumerable relationships," Borges once wrote in an essay about George Bernard Shaw. "All men who repeat one line of Shakespeare are William Shakespeare," he tells us in "Tlön, Uqbar, Orbis Tertius." In this spirit, Borges is not above impersonating, even quoting, himself.

It is hard, exactly, to say what all of this means, at least in any of the usual ways. Borges wrote not with an ideological agenda, but with a kind of radical philosophical playfulness. Labyrinths, libraries, lotteries, doubles, dreams, mirrors, heresiarchs: these are the tokens with which he plays his ontological games. In the end, ideas themselves are less important to him than their aesthetic and imaginative possibilities. Like the idealist philosophers of Tlön, Borges does not "seek for the truth or even for verisimilitude, but rather for the astounding"; for him as for them, "metaphysics is a branch of fantastic literature." --Mary Park

(retrieved from Amazon Thu, 12 Mar 2015 18:12:01 -0400)

(see all 4 descriptions)

The seventeen pieces in Ficciones demonstrate the gargantuan powers of imagination, intelligence, and style of one of the greatest writers of this or any other century. Borges sends us on a journey into a compelling, bizarre, and profoundly resonant realm; we enter the fearful sphere of Pascal's abyss, the surreal and literal labyrinth of books, and the iconography of eternal return. More playful and approachable than the fictions themselves are Borges's Prologues, brief elucidations that offer the uninitiated a passageway into the whirlwind of Borges's genius and mirror the precision and potency of his intellect and inventiveness, his piercing irony, his skepticism, and his obsession with fantasy. To enter the worlds in Ficciones is to enter the mind of Jorge Luis Borges, wherein lies Heaven, Hell, and everything in between.… (more)

(summary from another edition)

» see all 4 descriptions

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