Хорхе Борхес - Collected Fictions

The footnotes that appear throughout the text of the stories in the Collected Fictions are Borges' own, even when they say "Ed."

This translation commemorates the centenary of Borges' birth in 1899; I wish it also to mark the fiftieth anniversary of the first appearance of Borges in English, in 1948. It is to all translators, then, Borges included, that this translation is—unanimously—dedicated.

Andrew Hurley

San Juan, Puerto Rico, June 1998

Acknowledgments

I am indebted to the University of Puerto Rico at Río Piedras for a sabbatical leave that enabled me to begin this project. My thanks to the administration, and to the College of Humanities and the Department of English, for their constant support of my work not only on this project but throughout my twenty-odd years at UPR.

The University of Texas at Austin, Department of Spanish and Portuguese, and its director, Madeline Sutherland-Maier, were most gracious in welcoming the stranger among them. The department sponsored me as a Visiting Scholar with access to all the libraries at UT during my three years in Austin, where most of this translation was produced. My sincerest gratitude is also owed those libraries and their staffs, especially the Perry-Castañeda, the Benson Latin American Collection, and the Humanities Research Center (HRC). Most of the staff, I must abashedly confess, were nameless to me, but one person, Cathy Henderson, has been especially important, as the manuscripts for this project have been incorporated into the Translator Archives in the HRC.

For many reasons this project has been more than usually complex. At Viking Penguin, my editors, Kathryn Court and Michael Millman, have been steadfast, stalwart, and (probably more often than they would have liked) inspired in seeing it through. One could not possibly have had more supportive colleagues, or co-conspirators, who stuck by one with any greater solidarity.

Many, many people have given me advice, answered questions, and offered support of all kinds—they know who they are, and will forgive me, I know, for not mentioning them all personally; I have been asked to keep these acknowledgments brief. But two people, Carter Wheelock and Margaret Sayers Peden, have contributed in an especially important and intimate way, and my gratitude to them cannot go unexpressed here. Carter Wheelock read word by word through an "early-final" draft of the translation, comparing it against the Spanish for omissions, misperceptions and mistranslations, and errors of fact. This translation is the cleaner and more honest for his efforts. Margaret Sayers Peden (a.k.a. Fetch), one of the finest translators from Spanish working in the world today, was engaged by the publisher to be an outside editor for this volume. Fetch read through the late stages of the translation, comparing it with the Spanish, suggesting changes that ranged from punctuation to "readings."

Translators want to translate, love to translate; for a translator at the height of her powers to read a translation in this painstaking way and yet, while suggesting changes and improvements, to respect the other translator's work, his approach, his thought processes and creativity—even to applaud the other translator's (very) occasional strokes of brilliance—is to engage in an act of selflessness that is almost superhuman. She made the usual somewhat tedious editing process a joy.

I would never invoke Carter Wheelock's and Fetch Peden's readings of the manuscripts of this translation—or those of Michael Millman and the other readers at Viking Penguin—as giving it any authority or credentials or infallibility beyond its fair deserts, but I must say that those readings have given me a security in this translation that I almost surely would not have felt so strongly without them. I am deeply and humbly indebted.

First, last, always, and in number of words inversely proportional to my gratitude—I thank my wife, Isabel Garayta.

Andrew Hurley

San Juan, Puerto Rico, June 1998

Notes to the Fictions

Notes to A Universal History of Iniquity

Preface to the First Edition

Preface to the 1954 Edition

The Cruel Redeemer Lazarus Morell

The Widow Ching—Pirate

Monk Eastman, Purveyor of Iniquities

The Disinterested Killer Bill Harrigan

The Uncivil Teacher of Court Etiquette Kôtsuké no Suké

Man on Pink Corner

Et cetera

Index of Sources

Notes to Fictions ("The Garden of Forking Paths" and "Artifices")

THE GARDEN OF FORKING PATHS

Foreword

Tlön, Uqbar, Orbis Tertius

Pierre Menard, Author of the Quixote

A Survey of the Works of Herbert Quain

ARTIFICES

Funes, His Memory

Three Versions of Judas

The End

The South

Notes to The Aleph

The Dead Man

A Biography of Tadeo Isidoro Cruz (1829-1874)

Emma Zunz

The Other Death

Averroës' Search

The Zahir

The Writing of the God

The Wait

The Aleph

Notes to The Maker

Foreword

Dreamtigers

Toenails

Covered Mirrors

The Mountebank

Delia Elena San Marco

A Dialog Between Dead Men

The Yellow Rose

Martín Fierro

Paradiso, XXXI, 108

Everything and Nothing

Ragnarök

In Memoriam, J.F.K.

Notes to In Praise of Darkness

Foreword

Pedro Salvadores

Notes to Brodie's Report

Foreword

The Interloper

Unworthy

The Story from Rosendo Juárez

The Encounter

Juan Muraña

The Elderly Lady

The Duel

The Other Duel

Guayaquil

Brodie's Report

Notes to The Book of Sand

The Other

The Congress

There Are More Things

The Night of the Gifts

A Weary Man's Utopia

Avelino Arredondo

The Book of Sand

Notes to Shakespeare's Memory

August 25, 1983

The Rose of Paracelsus

Shakespeare's Memory

These notes are intended only to supply information that a Latin American (and especially Argentine or Uruguayan) reader would have and that would color or determine his or her reading of the stories.

Generally, therefore, the notes cover only Argentine history and culture; I have presumed the reader to possess more or less the range of general or world history or culture that JLB makes constant reference to, or to have access to such reference books and other sources as would supply any need there. There is no intention here to produce an "annotated Borges," but rather only to illuminate certain passages that might remain obscure, or even be misunderstood, without that information.