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Page 432 from Issue 25 Borges. He can only give what he himself does not have: courage, hope, the urge to learn. He wants to be remembered less as a poet than as a friend; let someone recite a line from Dunbar or Frost and remember that he first heard it ...
Page 433 from Issue 25 angle and given a good shake, it would fall into the right pattern, shedding light on all Borges' major fiction. To be appreciated, I think, this long story has to be accepted as allegory and as exem¬ plary technique, and e ...
Page 434 from Issue 25 one member remarks: "Every few centuries, the Library of Alex¬ andria must be burned down." Then, acting as if they had been cleansed of an evil and were on a somewhat languid holiday, the members of the Congress a ...
Page 435 from Issue 25 by analogy, is not found in the classicist's attempt to reduce the world to abstract forms. The engaged writer's pursuit of art through direct, expressive language, used for a mission and there¬ fore subordinate in ...
Page 436 from Issue 25 the structure of the story, embodied as a reality behind the sym¬ bols. For this reason I suggest that Borges is aware of the story's "failure." It is hard to believe, moreover, that Borges, the supreme li ...
Page 437 from Issue 25 miserable Minotaur is happy when Theseus comes to kill him, we are somehow happy for him because his bewilderment is dis¬ solved in fatal meaning. But with the destruction of the books and the end of the Congress, Theseus has in som ...
Page 438 from Issue 25 I would say that di Giovanni's and Borges' translations are by far the best yet, particularly from the standpoint of their enjoyability to the average reader. Scholars will find them in some respects problematical. ...
Page 439 from Issue 25 interpretation. In numerous interviews Borges has said—despite his incredible memory—that he has forgotten why he included an incident in a story, used a color, or wrote a certain word, and some of these forgotten things are of crit ...
Page 440 from Issue 25 or ignores the valuative tenor of the original phrase. Again, in "The Dead Man," the phrase which tells us that Bandeira's horse, saddle, and mistress are his "atributos o adjetivos" (a s ...
Page 442 from Issue 25 hind. First there were fairy tales, the stories of Canon Schmidt, The Arabian Nights. I was always rereading the same stories: "Genoveva de Brabante" and "Rosa de Tanenburgo." Georgie went through ...

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