By Jorge Luis Borges
In 1971, Jorge Luis Borges was once invited to preside over a chain of seminars on his writing at Columbia collage. This publication is a checklist of these seminars, which took the shape of casual discussions among Borges, Norman Thomas di Giovanni--his editor and translator, Frank MacShane--then head of the writing application at Columbia, and the scholars. Borges's prose, poetry, and translations are dealt with individually and the booklet is split accordingly.
The prose seminar is predicated on a line-by-line dialogue of 1 of Borges's so much precise tales, "The finish of the Duel." Borges explains how he wrote the tale, his use of neighborhood wisdom, and his attribute approach to referring to violent occasions in an actual and ironic approach. This shut research of his equipment produces a few illuminating observations at the position of the author and the functionality of literature.
The poetry part starts off with a few common feedback via Borges at the desire for shape and constitution and strikes right into a revealing research of 4 of his poems. the ultimate part, on translation, is a thrilling dialogue of ways the artwork and tradition of 1 nation should be "translated" into the language of another.
This ebook is a tribute to the bright craftsmanship of 1 of South America's--indeed, the world's--most distinctive writers and offers precious perception into his concept and his method.
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Extra info for Borges on Writing
Well, that’s a hard nut to crack. I don’t know if they’re inherent in the anecdote or not, but I know that I need them. If I borges: told a story swiftly and curtly, it wouldn’t be effective at all. I have tried to make this one effective by slowing it down. I couldn’t begin by saying, “Two gauchos hated each other,” because nobody would believe it. I had to make the hatred seem real. question: When did you write “The End of the Duel”? I must have written it a year ago. No. Yes. (To di Giovanni) You know far more about it than I do, because you know something about dates and I don’t.
It was considered a kind of reward after battle to be allowed to cut somebody’s throat. borges: His superior promised him that if he handled himself like a man he would be granted that favor. The Whites outnumbered the enemy, but the Reds were better equipped and cut them down from the crown of a hill. di giovanni: That happened when my grandfather was killed. His rebel forces were far more in number, but the government forces —for the first time in Argentine history—had Remington rifles, and so the rebels were cut down.
Di giovanni: borges: Since I had a saloon at my disposal, why not use it? A Brazilian half-breed, at the head of a detachment of gaucho militiamen, harangued all those present, telling them that the country needed them . . di giovanni: You see, he wasn’t actually an Oriental, an Uruguayan; I made him a Brazilian because that would have been likely. The man himself should not be an Uruguayan, yet he should tell the Uruguayans about duty to country and so on. Also, Brazilians are fairly common in Uruguay.
Borges on Writing by Jorge Luis Borges