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Ölüm ve Pusula
İlginç öykülerin yer aldığı Borges'in ölüm ve Pusula'sı, ağır bir okuma gerektiriyor. Cümleler anlamlandırılabilmek için tekrar tekrar okutuyor kendilerini. Ortaya çıkansa Borges'in fantastik dünyasıdır. Hiçbir öğe, olay, cümle, sözcük raslantıya bırakılmamıştır. Borges, yanıtı bilinmeyen soruları sorar ve bunları yanıtsız bırakır.
O, roman adamı değildir. Öykülerin her neşkilde olursa olsun yaşamını sürdüreceğini söyler. Ama roman, anlatılması mümkün olmayan olay örgülerinden ibaret kalacaktır.
Ölüm ve Pusula'da, Borges'in Babil Kitaplığı öyküsü de yer alıyor. Bu, son dönemde Dost Kitabevi tarafından yeniden okura sunulan Jorge Luis Borges'in Fantastik Edebiyat Dizisi'nin de adı olmuştur.
Okurken zorlanmıyorsunuz. Kitap sıkça uyarıyor sizi, konuya hakim olmanız için. Şu bir gerçek ki, Ölüm ve Pusula, okuru elinde tutmak için çaba gösteren kitaplardan biridir.
Naz Ferniba
O, roman adamı değildir. Öykülerin her neşkilde olursa olsun yaşamını sürdüreceğini söyler. Ama roman, anlatılması mümkün olmayan olay örgülerinden ibaret kalacaktır.
Ölüm ve Pusula'da, Borges'in Babil Kitaplığı öyküsü de yer alıyor. Bu, son dönemde Dost Kitabevi tarafından yeniden okura sunulan Jorge Luis Borges'in Fantastik Edebiyat Dizisi'nin de adı olmuştur.
Okurken zorlanmıyorsunuz. Kitap sıkça uyarıyor sizi, konuya hakim olmanız için. Şu bir gerçek ki, Ölüm ve Pusula, okuru elinde tutmak için çaba gösteren kitaplardan biridir.
Naz Ferniba
85 pages, Paperback
First published May 1, 1942
13 people are currently reading
1154 people want to read
About the author
Jorge Luis Borges
1,588 books14.3k followersJorge Francisco Isidoro Luis Borges Acevedo was an Argentine short-story writer, essayist, poet and translator regarded as a key figure in Spanish-language and international literature. His best-known works, Ficciones (transl. Fictions) and El Aleph (transl. The Aleph), published in the 1940s, are collections of short stories exploring motifs such as dreams, labyrinths, chance, infinity, archives, mirrors, fictional writers and mythology. Borges's works have contributed to philosophical literature and the fantasy genre, and have had a major influence on the magic realist movement in 20th century Latin American literature.
Born in Buenos Aires, Borges later moved with his family to Switzerland in 1914, where he studied at the Collège de Genève. The family travelled widely in Europe, including Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955, he was appointed director of the National Public Library and professor of English Literature at the University of Buenos Aires. He became completely blind by the age of 55. Scholars have suggested that his progressive blindness helped him to create innovative literary symbols through imagination. By the 1960s, his work was translated and published widely in the United States and Europe. Borges himself was fluent in several languages.
In 1961, he came to international attention when he received the first Formentor Prize, which he shared with Samuel Beckett. In 1971, he won the Jerusalem Prize. His international reputation was consolidated in the 1960s, aided by the growing number of English translations, the Latin American Boom, and by the success of Gabriel García Márquez's One Hundred Years of Solitude. He dedicated his final work, The Conspirators, to the city of Geneva, Switzerland. Writer and essayist J.M. Coetzee said of him: "He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish-American novelists."
Born in Buenos Aires, Borges later moved with his family to Switzerland in 1914, where he studied at the Collège de Genève. The family travelled widely in Europe, including Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955, he was appointed director of the National Public Library and professor of English Literature at the University of Buenos Aires. He became completely blind by the age of 55. Scholars have suggested that his progressive blindness helped him to create innovative literary symbols through imagination. By the 1960s, his work was translated and published widely in the United States and Europe. Borges himself was fluent in several languages.
In 1961, he came to international attention when he received the first Formentor Prize, which he shared with Samuel Beckett. In 1971, he won the Jerusalem Prize. His international reputation was consolidated in the 1960s, aided by the growing number of English translations, the Latin American Boom, and by the success of Gabriel García Márquez's One Hundred Years of Solitude. He dedicated his final work, The Conspirators, to the city of Geneva, Switzerland. Writer and essayist J.M. Coetzee said of him: "He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish-American novelists."
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February 25, 2024
#bibliotecaafectiva
Prima traducere din opera lui Borges în limba română. E și prima carte de Borges citită de mine în studenție. Cuprinde povestiri din 4 volume (traducătorul nu urmează strict cronologia tipăririi volumelor): Grădina potecilor ce se bifurcă (1941), Artificii (1944), El Aleph (1949), Istoria universală a infamiei (1935). Între traducerile din acest volum (realizate de Darie Novăceanu) și traducerile mai noi deosebirile sînt simțitoare.
De pildă, titlul povestirii „El tintorero enmascarado Hákim de Merv” sună în acest volum „Vopsitorul mascat Hakim din Merv”. În traducerea Cristinei Hăulică, titlul devine „Profetul mincinos Hakim din Merv”. Observ și uriașe deosebiri în corpul povestiri. Sintagma „nepotrivirile din Istoria califatelor” (Darie Novăceanu, p.380) nu e totuna cu „excerpte din Istoria califilor” (Cristina Hăulică, Polirom, 2015, p.205). În textul spaniol e „las excertas de la Historia de los jalifas”.
Nu știu ce-au avut în față traducătorii succesivi. Uneori, par a urmări povestiri complet diferite. Abia acum înțeleg întru totul silința lui Miguel de Unamuno de a învăța limbile autorilor străini care-i trezeau interesul. A învățat daneză pentru a-l citi pe Kierkegaard în original.
Prima traducere din opera lui Borges în limba română. E și prima carte de Borges citită de mine în studenție. Cuprinde povestiri din 4 volume (traducătorul nu urmează strict cronologia tipăririi volumelor): Grădina potecilor ce se bifurcă (1941), Artificii (1944), El Aleph (1949), Istoria universală a infamiei (1935). Între traducerile din acest volum (realizate de Darie Novăceanu) și traducerile mai noi deosebirile sînt simțitoare.
De pildă, titlul povestirii „El tintorero enmascarado Hákim de Merv” sună în acest volum „Vopsitorul mascat Hakim din Merv”. În traducerea Cristinei Hăulică, titlul devine „Profetul mincinos Hakim din Merv”. Observ și uriașe deosebiri în corpul povestiri. Sintagma „nepotrivirile din Istoria califatelor” (Darie Novăceanu, p.380) nu e totuna cu „excerpte din Istoria califilor” (Cristina Hăulică, Polirom, 2015, p.205). În textul spaniol e „las excertas de la Historia de los jalifas”.
Nu știu ce-au avut în față traducătorii succesivi. Uneori, par a urmări povestiri complet diferite. Abia acum înțeleg întru totul silința lui Miguel de Unamuno de a învăța limbile autorilor străini care-i trezeau interesul. A învățat daneză pentru a-l citi pe Kierkegaard în original.
May 30, 2022
Sekiz öykü var kitapta, ne yazık ki en yorucu, en sofistike, en düşündürücü öykü, varlığı tartışılan Homeros destanlarının karışık örgüsünden faydalanılarak yazılan “Ölümsüz” adlı öykü ilk sıraya konulmuş. Bu nedenle ilk kez Borges okuyanların gözünü korkutan ve onu bir daha okumamayı düşündüren bir durum ortaya çıkmış. Halbuki sonraki öyküler çok keyifli ve sürükleyici
Kordoba’daki İbni Rüşt’ten, büyükannesinin kızılderili İngiliz kız ile karşılaşmasından, Aztek’leri kırıp geçiren İspanyol’lardan, Shakespeare’den, bir intikam öyküsünden, dedektiflikle birlikte cinayetler serisinden bahseden öyküler gibi. Yazarın alameti farikası haline gelen Babil Kitaplığı öyküsü de ilk öykü gibi karışık, göndermelerle dolu yorucu bir öykü. Borges’in bu kitabını okuyacaksanız ilk öyküyü sona bırakarak okumanızı öneririm.
Kordoba’daki İbni Rüşt’ten, büyükannesinin kızılderili İngiliz kız ile karşılaşmasından, Aztek’leri kırıp geçiren İspanyol’lardan, Shakespeare’den, bir intikam öyküsünden, dedektiflikle birlikte cinayetler serisinden bahseden öyküler gibi. Yazarın alameti farikası haline gelen Babil Kitaplığı öyküsü de ilk öykü gibi karışık, göndermelerle dolu yorucu bir öykü. Borges’in bu kitabını okuyacaksanız ilk öyküyü sona bırakarak okumanızı öneririm.
May 13, 2021
دنیای بورخس، دنیای آینههاست، دنیای هزارتو های پیچ در پیچ.
او به مدد مطالعههای طولانی و ثبت دقیق محتوای کتابها در ذهنش، و استفاده از این جزئیات، ساختمان با شکوهی از کلمات میسازد و در داستانها ما را با خود به دنیاهای عجیب و افسانهوار میبرد.
به نسبت هزارتوهای بورخس، کتاب حاضر، گیرایی و تنوع کمتری داشت اما معجزه پنهان، بخت آزمایی بابل و مرگ و پرگار فوقالعاده بودند.
در پایان، گزارشی از زندگی، توصیفی اجمالی از سرگذشت بورخس به ما میدهد و به درک و فهم آثار او کمک میکند.
گستردگی و تنوع موضوعاتِ داستانهای بورخس و رنگهایی که از تاریخ و افسانههای کهن بر کتابها میپاشد، بُعدی جهانشمول به او و آثارش میدهد که نهایتا ًجذابیت کارهایش را پایان ناپذیر خواهد کرد.
او به مدد مطالعههای طولانی و ثبت دقیق محتوای کتابها در ذهنش، و استفاده از این جزئیات، ساختمان با شکوهی از کلمات میسازد و در داستانها ما را با خود به دنیاهای عجیب و افسانهوار میبرد.
به نسبت هزارتوهای بورخس، کتاب حاضر، گیرایی و تنوع کمتری داشت اما معجزه پنهان، بخت آزمایی بابل و مرگ و پرگار فوقالعاده بودند.
در پایان، گزارشی از زندگی، توصیفی اجمالی از سرگذشت بورخس به ما میدهد و به درک و فهم آثار او کمک میکند.
گستردگی و تنوع موضوعاتِ داستانهای بورخس و رنگهایی که از تاریخ و افسانههای کهن بر کتابها میپاشد، بُعدی جهانشمول به او و آثارش میدهد که نهایتا ًجذابیت کارهایش را پایان ناپذیر خواهد کرد.
March 31, 2017
''çiftlikte, kan çukurunun başındaki bir adam, hayvan kesiyormuş. kızılderili kız, bir düşteymişçesine, at sırtında geçmiş yoldan. kendini hemen yere atmış, sıcak kanı doyasıya içmiş. artık başka türlü davranamadığı için mi, bir yüzleşme, bir gösterge adına mı böyle yaptığını bilmiyorum''
bugün borges ile tanıştım. biraz sıkıcı bir arkadaş olduğu izlenimindeyim şu an...
ölüm ve pusula islam coğrafyasında geçen bir öyküyü de barındırmasına rağmen, herhangi bir aidiyet hissetmedim kitabın sayfalarında.
''galiba borges'te yokum, onun okuru değilim'' düşüncesiyle bitti...
kötü bir başlangıç yaptım galiba ama karakteristik bir kaleme sahip bir yazar olduğunu düşünüyorum. belki ''daha doğru'' bir kitap ile tekrar tanışırız kendisiyle
bugün borges ile tanıştım. biraz sıkıcı bir arkadaş olduğu izlenimindeyim şu an...
ölüm ve pusula islam coğrafyasında geçen bir öyküyü de barındırmasına rağmen, herhangi bir aidiyet hissetmedim kitabın sayfalarında.
''galiba borges'te yokum, onun okuru değilim'' düşüncesiyle bitti...
kötü bir başlangıç yaptım galiba ama karakteristik bir kaleme sahip bir yazar olduğunu düşünüyorum. belki ''daha doğru'' bir kitap ile tekrar tanışırız kendisiyle
June 1, 2024
This is what overthinking a plot looks like. I wonder if Jose Martinez or Joe Smith were the authors of this unhinged story, would they have received so many stars? I do not think so. Borges is a fantastic writer, he knows how to experiment with words and plots, making surreal and beautiful poems and essays. In mysteries however other rules apply, you need to make sense of the plot, it is almost like writing a mathematical equation with beautiful wordings and great characters.
I would have love to have the Spanish version of this short story but it was not available to me. The English translation was spotless so that gave me piece of mind. Again, I am a fan of this author’s writings but is a love and hate relationship, his rigid and racist views toward the Indigenous cultures of Argentina are a shame. He tended to be more conservative than his Latin American contemporaries but that is a discussion for another day.
I would have love to have the Spanish version of this short story but it was not available to me. The English translation was spotless so that gave me piece of mind. Again, I am a fan of this author’s writings but is a love and hate relationship, his rigid and racist views toward the Indigenous cultures of Argentina are a shame. He tended to be more conservative than his Latin American contemporaries but that is a discussion for another day.
April 23, 2019
I read this on a plane on my way home from a vacation.
Esoteric references (either true or invented) abound this murder mystery the ending of which was as surprisingly as why I wasn’t surprised.
It was probably because I’ve read some Borges before and I am already more or less acquainted with his style.
Esoteric references (either true or invented) abound this murder mystery the ending of which was as surprisingly as why I wasn’t surprised.
It was probably because I’ve read some Borges before and I am already more or less acquainted with his style.
August 5, 2019
It is pointless to seek reason, meaning, and pattern in a reality that, in fact “has not the slightest obligation to be interesting.”
April 24, 2021
Detective fiction with a twist.
December 10, 2022
He lido por mi clase de español y me gusta mucho, hay elementos en todo el cuento de modo que puedes leerlo novamente y es una experiencia diferente de la primera.
January 20, 2019
A detective investigating the death of a rabbi follows a series of clues that point him to the four part Hebrew name of God. Two more deaths follow, leading the detective to anticipate the fourth crime. When he arrives at the scene, the target of the final murder is a surprise.
This story has good, clear characters. The idea of the four-part name of God pointing the way to the time and place of the fourth murder is obscure and fascinating. Borges crisp writing does not disappoint, and the end comes together very tightly. A great story.
Highly recommend.
This story has good, clear characters. The idea of the four-part name of God pointing the way to the time and place of the fourth murder is obscure and fascinating. Borges crisp writing does not disappoint, and the end comes together very tightly. A great story.
Highly recommend.
December 3, 2020
لماذا لم يكتب بورخيس الرواية؟
لأن تلك القصة القصيرة بها من الحبكة ما يعادل مئات الروايات
قاتل متسلسل
دافع خفىّ للجرائم يكمن فى الكتب والمخطوطات
محققان يدوران حول القاتل
وفى النهاية؛ التواء ساخر ولذيذ
لأن تلك القصة القصيرة بها من الحبكة ما يعادل مئات الروايات
قاتل متسلسل
دافع خفىّ للجرائم يكمن فى الكتب والمخطوطات
محققان يدوران حول القاتل
وفى النهاية؛ التواء ساخر ولذيذ
July 23, 2024
This is another incredible short story from Borges, presented as a murder mystery but actually deconstructing the genre and its tropes into a discussion on reality, unreality, fiction and perception like no other. It teases the readers to believe they're reading a regular mystery, following a thoughtful detective (Lonnrot) and a bored one (Treviranus)… but in reality, it is so much more.
It is difficult to talk about this short-story without spoiling its key themes, but there are some things worth considering.
Borges has some stories that (one could argue, perhaps erroneously) that they have "no perceivable plot" (like The Library of Babel, or Tlön, Uqbar, Orbis Tertius). On the contrary, Death and the Compass is more "readable", more straightforward—seemingly so, not in reality—and with a clear plot line that is hinted at in the first few paragraphs. However, this story is very well within Borges' parameters of unreliable narrators presented as afable and reliable, only to deceive the reader to believe what they're reading, thus creating that mirror between fiction and reality which happens both within the story and outside it, and well within what Borges planned.
What I mean by this is that this story is a discussion on how we individually create a fiction and then act according to it, interpreting the world according to those fictional beliefs, and without realising that reality may be far different.
Likewise, other of Borges' favourite themes pop up in this story--including labyrinths, myths, social beliefs and perceptions, and mirrors between what happens on the page, and what happens for the reader as they read. This leads this story to become an experience in itself.
I personally believe that Borges walked some fine lines in this story, aiming to discuss some topics that a modern reader may have trouble spotting. Since this is very spoilery, I'll put up my opinions on a spoiler tag; however, do note that this is my personal interpretation.
Finally, what I have to say is don't come to read this story believing it to be a fun, straightforward murder mystery. Borges had opinions and ideas, and most of all, a way to use words to twist reality and involve the reader in the story like no other. Likewise, don't believe his narrators; they are all highly unreliable.
It is difficult to talk about this short-story without spoiling its key themes, but there are some things worth considering.
Borges has some stories that (one could argue, perhaps erroneously) that they have "no perceivable plot" (like The Library of Babel, or Tlön, Uqbar, Orbis Tertius). On the contrary, Death and the Compass is more "readable", more straightforward—seemingly so, not in reality—and with a clear plot line that is hinted at in the first few paragraphs. However, this story is very well within Borges' parameters of unreliable narrators presented as afable and reliable, only to deceive the reader to believe what they're reading, thus creating that mirror between fiction and reality which happens both within the story and outside it, and well within what Borges planned.
What I mean by this is that this story is a discussion on how we individually create a fiction and then act according to it, interpreting the world according to those fictional beliefs, and without realising that reality may be far different.
Likewise, other of Borges' favourite themes pop up in this story--including labyrinths, myths, social beliefs and perceptions, and mirrors between what happens on the page, and what happens for the reader as they read. This leads this story to become an experience in itself.
I personally believe that Borges walked some fine lines in this story, aiming to discuss some topics that a modern reader may have trouble spotting. Since this is very spoilery, I'll put up my opinions on a spoiler tag; however, do note that this is my personal interpretation.
Finally, what I have to say is don't come to read this story believing it to be a fun, straightforward murder mystery. Borges had opinions and ideas, and most of all, a way to use words to twist reality and involve the reader in the story like no other. Likewise, don't believe his narrators; they are all highly unreliable.
February 2, 2022
Nesse conto de Borges, ocorrem alguns crimes que o comissário Treviranus e o detetive Lönnrot investigam.
No primeiro crime, Marcelo Yarmolinsky é a vítima no dia três de dezembro. No diálogo entre Lönnrot e Treviranus a respeito do primeiro crime, a ideia de realidade recebe um destaque na fala de Lönnrot, que responde: "O senhor responderá que a realidade não tem a menor obrigação de ser interessante [...]", ou seja, para Treviranus a realidade pode ser desinteressante, não está obrigada a ser interessante. "Eu lhe responderei que a realidade pode prescindir dessa obrigação, mas não as hipóteses", ou seja, para Lönnrot a realidade pode não ter necessidade dessa obrigação (de ser interessante), mas as hipóteses devem ser interessantes. Desse modo, Lönnrot aponta para algo interessante relativo ao crime, "eu preferiria uma explicação puramente rabínica". Seu interlocutor se define como um pobre cristão sem tempo a perder com superstições judias.
No segundo crime, Daniel Azevedo é a vítima no dia três de janeiro na capital. O terceiro crime acontece em três de fevereiro de noite. Em cada uma das cenas, há uma frase sobre uma letra do Nome (de Deus) ter sido articulada. Lönnrot estuda os casos, encontra simetria no tempo (3 de dezembro, 3 de janeiro e 3 de fevereiro), simetria no espaço, pronuncia a palavra "Tetragrama". Descobre que os criminosos planejam um quarto crime.
Erik Lönnrot encontra Red Scharlach, que quer se vingar dele porque Lönnrot prendeu e levou à prisão o irmão de Scharlach. "Um irlandês tratou de me converter [a Scharlach] à fé de Jesus; me repetia a frase dos goyim: Todos os caminhos levam a Roma." Nessa fala, ao mesmo tempo em que se afirma a unidade da Igreja Católica, se utiliza um termo hebraico para significar os não judeus. Nessa última cena, Scharlach explica a Lönnrot as pistas que ele deixou para que o detetive o encontrasse finalmente. Lönnrot, que foi bem-sucedido por descobrir o plano de Scharlach, tornou-se a vítima de Scharlach: "Retrocedeu uns passos. Depois, muito cuidadosamente, atirou [em Lönnrot]". Desse modo, o leitor depara com um desfecho muito diferente daqueles nas histórias de detetive tradicionais.
É de se notar que nessa história há tanto um conteúdo de cultura religiosa judaica (Tetragrama, seita dos Hasidim etc) quanto de filosofia grega (locais dos crimes segundo uma lógica semelhante ao paradoxo de Zenão), ambos sendo elementos estruturadores da história.
No primeiro crime, Marcelo Yarmolinsky é a vítima no dia três de dezembro. No diálogo entre Lönnrot e Treviranus a respeito do primeiro crime, a ideia de realidade recebe um destaque na fala de Lönnrot, que responde: "O senhor responderá que a realidade não tem a menor obrigação de ser interessante [...]", ou seja, para Treviranus a realidade pode ser desinteressante, não está obrigada a ser interessante. "Eu lhe responderei que a realidade pode prescindir dessa obrigação, mas não as hipóteses", ou seja, para Lönnrot a realidade pode não ter necessidade dessa obrigação (de ser interessante), mas as hipóteses devem ser interessantes. Desse modo, Lönnrot aponta para algo interessante relativo ao crime, "eu preferiria uma explicação puramente rabínica". Seu interlocutor se define como um pobre cristão sem tempo a perder com superstições judias.
No segundo crime, Daniel Azevedo é a vítima no dia três de janeiro na capital. O terceiro crime acontece em três de fevereiro de noite. Em cada uma das cenas, há uma frase sobre uma letra do Nome (de Deus) ter sido articulada. Lönnrot estuda os casos, encontra simetria no tempo (3 de dezembro, 3 de janeiro e 3 de fevereiro), simetria no espaço, pronuncia a palavra "Tetragrama". Descobre que os criminosos planejam um quarto crime.
Erik Lönnrot encontra Red Scharlach, que quer se vingar dele porque Lönnrot prendeu e levou à prisão o irmão de Scharlach. "Um irlandês tratou de me converter [a Scharlach] à fé de Jesus; me repetia a frase dos goyim: Todos os caminhos levam a Roma." Nessa fala, ao mesmo tempo em que se afirma a unidade da Igreja Católica, se utiliza um termo hebraico para significar os não judeus. Nessa última cena, Scharlach explica a Lönnrot as pistas que ele deixou para que o detetive o encontrasse finalmente. Lönnrot, que foi bem-sucedido por descobrir o plano de Scharlach, tornou-se a vítima de Scharlach: "Retrocedeu uns passos. Depois, muito cuidadosamente, atirou [em Lönnrot]". Desse modo, o leitor depara com um desfecho muito diferente daqueles nas histórias de detetive tradicionais.
É de se notar que nessa história há tanto um conteúdo de cultura religiosa judaica (Tetragrama, seita dos Hasidim etc) quanto de filosofia grega (locais dos crimes segundo uma lógica semelhante ao paradoxo de Zenão), ambos sendo elementos estruturadores da história.
This entire review has been hidden because of spoilers.
September 2, 2025
Complicated blabber, but no more ‘superhuman detective’ wooooo sometimes the answer is the most simple one. Pattern-seeking is not the be all end all!!
Also not sure if it’s just how I read it, but love the authors commentary on religion - why do humans seek ultimate meaning in faith… will we ever know? Probs not
Also not sure if it’s just how I read it, but love the authors commentary on religion - why do humans seek ultimate meaning in faith… will we ever know? Probs not
March 11, 2019
از میان مسائل بسیاری که ذهن تیز و جسور لونورت را به آزمون گرفت هیچ کدام چنین غریب ، می توان گفت چنین گستاخانه غریب نبود که سلسله سرگیجه آوری از اعمال خونین که در ویلای تریست اوروی میان روایح بی حد و مرز درختان اوکالیپتوس به نقطه اوج خود رسید.
January 4, 2021
Muy seguramente M. Night Shyamalan leyó estos relatos, y en su mente se fueron tejiendo las tramas con esos plot twist de sus películas.
July 6, 2023
Ojalá hubiera leído Borges antes de leer Eco.
September 11, 2025
Borges viejo complicado la de ponerles nombres normales a los personajes no te la sabías?
December 25, 2025
تنها تقدیرگراییه که میشه گردنش گرفت، یا دستکم من گردنش میگیرم
June 21, 2024
Detective E. Lönnrot faces a most puzzling conundrum going back to the ancient Greeks and beyond.
August 30, 2019
Este libro tiene un total de 9 cuentos, de los cuales sólo me gustaron 4. Respecto a los 5 restantes: o me aburrieron o no los entendí. No hay caso, no puedo con Borges. Algunas frases me resultan tan claras y reveladoras de mis pensamientos y sentires que yo no podría explicarlo mejor, pero eso: algunas frases en medio de una trama que no entiendo. Y después está lo de los nombres que utiliza para sus personajes que me resultan impronunciables y son tantos que me pierdo. Cada párrafo tengo que leerlo varias veces para poder descifrarlo! Además me cuesta ubicarme en tiempo y espacio, ya que siempre habla de cosas que supuestamente deberíamos conocer, es como si empezáramos a escuchar un cuento a mitad del relato. No puedo con él.
March 4, 2018
واقعا این داستانها به صورت ستایش آمیزی هوش نویسنده رو نشون میدن
داستان معجزه پنهان مفهوم جدیدی از زمان رو بیان می کنه
در کسری از ثانیه می شه یک داستان تموم بشه
بخت آزمایی بابل نگاهی جالب به شانس در زندگی است
اینکه یک شرکت قمار زندگی رو شبیه سازی می کنه
مضمون خائن و قهرمان من فکر می کنم تصویری جالب از تاریخ می ده
اینکه چطور میشه ثبت و ته نشین حافظه تاریخی از افراد و اتفاقات مدیریت کرد
داستان معجزه پنهان مفهوم جدیدی از زمان رو بیان می کنه
در کسری از ثانیه می شه یک داستان تموم بشه
بخت آزمایی بابل نگاهی جالب به شانس در زندگی است
اینکه یک شرکت قمار زندگی رو شبیه سازی می کنه
مضمون خائن و قهرمان من فکر می کنم تصویری جالب از تاریخ می ده
اینکه چطور میشه ثبت و ته نشین حافظه تاریخی از افراد و اتفاقات مدیریت کرد
May 21, 2018
I picked up an anthology of mystery stories, largely because it listed Borges as an included author, and I couldn't think of Borges writing a mystery. I was wrong. Borges totally wrote a mystery. I'm not sure if this is a tribute to, or a parody of, Poirot and his ilk, but either way it is brilliant.
January 3, 2018
I have now read a fair few short stories by Jorge Luis Borges. This is outstanding! So clever. Such smart writing. If I were you I'd access it now. Read its 8 pages and prepare to be entirely amazed by his incredible fantastic writing. Go. Do it. You will love it. 4
July 14, 2012
داستان معجزهی پنهان عالی بود
March 30, 2014
Enjoyed reading this, very clever.
June 25, 2017
Some of the short stories are so poetic and magical, breathtaking.
And yes, all of them are about death, but that felt like a minor point.
And yes, all of them are about death, but that felt like a minor point.
October 30, 2017
Borges’a hazır olmadığımı anladım. Araştırıp daha emin bir adım atmak belki daha doğru olurdu. Hakkını veremedim sanırım.
November 28, 2024
Too obviously crafted without effect.
March 20, 2019
Sometimes you can be too smart for your own good
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