Borges’ Book of Imaginary Beings – On Art and AestheticsSep 26, ISBN For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1, titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. His most notable works as a key literary Spanish-language figure of the twentieth century include Ficciones Fictions and El Aleph The Aleph. Of all the Latin American authors in this century, [Borges] is the most universal. Harold Bloom.
Caspar Henderson: rereading The Book of Imaginary Beings by Jorge Luis Borges
In the preface, Borges states that the book is to be read "as with all miscellanies Rather we would like the reader to dip into the pages at random, just as one plays with the shifting patterns of a kaleidoscope "; and that "legends of men taking the shapes of animals" have been omitted. Although a work of fiction, it is situated in a tradition of Paper Museums, bestiaries, and natural history writing. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
I n "The Book of Sand" , Jorge Luis Borges describes a volume of inconceivably thin leaves in which no page is the first and no page the last, so that wherever you open it there is a different story, written in various indecipherable scripts. The narrator becomes obsessed with this extraordinary object and ultimately horrified: "I realised that the book was monstrous. It was no consolation to think that I … was no less monstrous than the book. The short story echoes what is probably Borges's single most famous fiction, "The Library of Babel" , which depicts a library of astronomical size containing everything that ever has been or could be written but in which meaning is elusive. The later work, however, written towards the end of the author's life, has a nightmarish quality that is less apparent in the earlier story.
The book is infinitely delightful and perfect for anybody — writer or visual artist or creative child — in need of some inspiration. According to Giles, belief in the Fish is part of a larger myth that goes back to the legendary times of the Yellow Emperor. In those days the world of mirrors and the world of men were not, as they are now, cut off from each other. They were, besides, quite different; neither beings nor colours nor shapes were the same. Both kingdoms, the specular and the human, lived in harmony; you could come and go through mirrors.
Published by Tulika Bahadur