According to some critics, there is no such thing as science fiction in Argentina. In their utopias or dystopias, science intermingles with literary imagination and superb prose to shed light on the multiple facets of the human condition. Comments on and reviews of their best-known and most anthologised stories more often than not address the presence of the unknowable and the inexplicable rather than the inspiration of scientific knowledge as a way to understand how things work in the world. Jorge Luis Borges figures as an exception to the above statement, because much has been written on the influence of science on his work. I will therefore restrict the present study to those less-explored features of what are nonetheless representative pieces of nineteenth- and twentieth-century literature, without enquiring into the differences between science fiction and fantastic literature, since the subtle line dividing both concepts is still a matter of controversy among critics. Unable to display preview.
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In , a well-to-do Argentine family arrived in Buenos Aires on a grand transatlantic ship, the Reina Victoria Eugenia. I imitated him, to the point of transcription, to the point of devoted and impassioned plagiarism.
I felt: Macedonio is metaphysics, is literature. Whoever preceded him might shine in history, but they were all rough drafts of Macedonio, imperfect previous versions. To not imitate this canon would have represented incredible negligence. It may have been the first time in the history of the Recoleta Cemetery, a decidedly somber if beautiful necropolis, that attendees at a burial burst into laughter. The affinity for the paradoxical proposition is one of the many ways in which Borges took after his old friend, but hardly the only one.
Both men were enamored of speculative philosophy, and arguably it was Macedonio who was responsible for making a metaphysician out of Borges. Both writers were incessant explorers of a handful of themes: the inexistence of the individual personality, the elastic nature of time, the permeability of waking life to dreams and vice-versa; one might say: the instability of reality in general.
There is an ongoing debate in Argentine literary circles about the extent to which Borges was influenced by Macedonio, an eccentric genius who spent the final three decades of his life drifting through Buenos Aires boardinghouses and country hermitages, absorbed in writing and thinking.
They point out that Borges published his famous short stories in the s, a decade or more after the period in which he was closest to Macedonio.
The flowering of the friendship between Borges and Macedonio was quick and intense. Memoirs of the s recall a cafe in the Once neighborhood of Buenos Aires called La Perla where Macedonio would hold court on Saturday evenings. When not finding him in the cafe, young literary men would visit him at his boardinghouse rooms, where Macedonio would offer visitors gourds of yerba mate as well as cookie-like Argentine confections called alfajores , which he kept stashed in an old suitcase under the bed.
Reminiscences also coincide in the portrait they draw of Macedonio: a small and slight but striking man with a dark mustache and flowing white hair, usually swaddled deep in a poncho, fond of strumming a guitar and sinking into silence to meditate upon some point of philosophy, only to emerge from absorption with a brilliant turn of phrase.
Borges was among his most assiduous visitors. In those days Borges had a habit of taking endless walks around Buenos Aires, calling on Macedonio at insomniac hours. Almost immediately, the two men began to exchange writing and ideas. This publication is, for several reasons, an important indication of the intellectual infatuation the men shared. Discrepo en la influencia grande en Borges, para mi Lugones lo influencio mucho mas. Pero Lugones estaba muy rayado y no lo queria ni la madre, y por eso Borges no lo menciona mucho.
La estatua de sal, de Lugones, podria pasar por Borges facilmente. Macedonio Reminiscences also coincide in the portrait they draw of Macedonio: a small and slight but striking man with a dark mustache and flowing white hair, usually swaddled deep in a poncho, fond of strumming a guitar and sinking into silence to meditate upon some point of philosophy, only to emerge from absorption with a brilliant turn of phrase. View all 6 comments. Visit Community.
Fernandez, Macedonio-el Zapallo Que Se Hizo Cosmos
El Zapallo Que Se Hizo Cosmos