Cuentos Completos by Jorge Luis Borges

By Jorge Luis Borges

Por primera vez, todos los cuentos de Jorge Luis Borges en un solo volumen.

Borges es uno de los grandes escritores de todos los tiempos. Habitante en sombras de los angeles Bibliotetca common, a lo largo de su obra construyó un mundo lleno de mitos, metáforas, laberintos, espejos, tigres y ecos literarios que le conviriteron en supremo custodio de l. a. memoria literaria.

Ahora Lumen tiene el privilengio de publicar su obra completa. Empezamos con un volumen que réune, por primera vez, todos los cuentos del escritor argentino. Aquí nos encomtramos con piezas tan memorables como El Aleph, El jardín de los senderos que se bifucan, Pierre Menard, Las ruinas circulares y tantas otras invenciones inmortales. Estamos sin duda ante un acontecimiento literario de primera magnitud que, de hecho, propone una relectura de Borges.

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Whereas King John is ‘a dastardly criminal’, ‘we cannot refrain from yielding a certain tribute of admiration to the bolder malefactor, who ventures on the daring experiment of choosing evil for his good’ (1875: 189). Of Richard II, Dowden notes: Life is to Richard a show, a succession of images; and to put himself into accord with the aesthetic requirements of his position is Richard’s first necessity. He is equal to playing any part gracefully which he is called upon by circumstances to enact.

Both lost their crowns owing to their mismanagement and imbecility; the one from a thoughtless, wilful abuse of power, the other from an indifference to it . . Richard bewails the loss of the kingly power only as it was the means of gratifying his pride and luxury; Henry regards it only as a means of doing right, and is less desirous of the advantages to be derived from possessing it than afraid of exercising it wrong. (1998: I, 202) Hazlitt deplored the adaptations that passed for Shakespeare on the stage, arguing, in the context of Cibber’s Richard III (see pp.

As we like to gaze at a panther or a young lion in their cages in the Tower, and catch a pleasing horror from their glistening eyes, their velvet paws and dreadless roar, so we take our very romantic, heroic, patriotic, and poetical delight in the boasts and feats of our younger Harry, as they appear on the stage and are confined to lines of ten syllables; where no blood follows the stroke that wounds our ears, where no harvest bends beneath horses’ hoofs, no city flames, no little child is butchered, no dead men’s bodies are found piled on heaps and festering the next morning – in the orchestra!

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