Jorge Luis Borges Biography
Jorge Luis Borges (August 24, 1899 – June 14, 1986) was an Argentine writer who is considered to be one of the foremost writers of the 20th century. A poet and an essayist, Borges is generally best-known for his short stories.
known as Jorge Luis Borges (Spanish pronunciation: [ˈxorxe ˈlwis ˈβorxes]), was an Argentine writer, essayist, poet and translator born in Buenos Aires. In 1914 his family moved to Switzerland where he attended school and traveled to 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 (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first International Publishers' Prize, the Prix Formentor. In 1971 he won the Jerusalem Prize. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. He died in Geneva, Switzerland, in 1986.
His work embraces the "character of unreality in all literature. His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, animals, fictional writers, religion and God. His works have contributed to the genre of science fiction as well as the genre of magical realism, a genre that reacted against the realism/naturalism of the nineteenth century.[3][4][5] In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (1935).Scholars also have suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.
His international fame was consolidated in the 1960s, aided by the "Latin American Boom" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). 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.
Early life and education of Jorge Luis Borges
Jorge Luis Borges was born in an educated middle-class family in August 1899. They were in comfortable circumstances, but not wealthy enough to live in downtown Buenos Aires. They resided in Palermo, then a poorer suburb of the city. Borges's mother, Leonor Acevedo Suárez, came from a traditional Uruguayan family of "pure" criollo (Spanish) descent. Her family had been much involved in the European settling of South America and she spoke often of their heroic actions.Borges's 1929 book Cuaderno San Martín includes the poem "Isidoro Acevedo," commemorating his grandfather, Isidoro de Acevedo Laprida, a soldier of the Buenos Aires Army. A descendant of the Argentine lawyer and politician Francisco Narciso de Laprida, Acevedo fought in the battles of Cepeda in 1859, Pavón in 1861, and Los Corrales in 1880. Isidoro de Acevedo Laprida died of pulmonary congestion in the house where his grandson Jorge Luis Borges was born. Borges grew up hearing about the faded family glory. On the other side, Borges's father, Jorge Guillermo Borges Haslam, was part Spanish, part Portuguese, and half English, also the son of a colonel. Borges Haslam, whose mother was English, grew up speaking English at home, and took his own family frequently to Europe. England and English pervaded the family home.
Early writing career of Jorge Luis Borges
In 1921, Borges returned with his family to Buenos Aires, where he imported the doctrine of Ultraism and launched his career, publishing surreal poems and essays in literary journals. In 1930, Nestor Ibarra called Borges the "Great Apostle of Criollismo." His first published collection of poetry was Fervor de Buenos Aires (1923). He contributed to the avant-garde review Martín Fierro (whose "art for art's sake" approach contrasted to that of the more politically involved Boedo group). Borges co-founded the journals Prisma, a broadsheet distributed largely by pasting copies to walls in Buenos Aires, and Proa. Later in life Borges regretted some of these early publications, and attempted to purchase all known copies to ensure their destruction.
By the mid-1930s, he began to explore existential questions. He also worked in a style that Ana María Barrenechea has called "irreality." Borges was not alone in this task. Many other Latin American writers, such as Juan Rulfo, Juan José Arreola, and Alejo Carpentier, investigated these themes, influenced by the phenomenology of Husserl and Heidegger or the existentialism of Jean-Paul Sartre. Even though existentialism saw its apogee during the years of Borges's greatest artistic production, it can be argued that his choice of topics largely ignored existentialism's central tenets. To that point, critic Paul de Man wrote:
"Whatever Borges's existential anxieties may be, they have little in common with Sartre's robustly prosaic view of literature, with the earnestness of Camus' moralism, or with the weighty profundity of German existential thought. Rather, they are the consistent expansion of a purely poetic consciousness to its furthest limits."
From the first issue, Borges was a regular contributor to Sur, founded in 1931 by Victoria Ocampo. It was then Argentina's most important literary journal. Ocampo introduced Borges to Adolfo Bioy Casares, another well-known figure of Argentine literature, who was to become a frequent collaborator and dear friend. Together they wrote a number of works, some under the nom de plume H. Bustos Domecq, including a parody detective series and fantasy stories.
During these years a family friend Macedonio Fernández became a major influence on Borges. The two would preside over discussions in cafés, country retreats, or Fernández' tiny apartment in the Balvanera district.
In 1933 Borges gained an editorial appointment at the literary supplement of the newspaper Crítica, where he first published the pieces later collected as the Historia universal de la infamia (A Universal History of Infamy). This involved two types of pieces. The first lay somewhere between non-fictional essays and short stories, using fictional techniques to tell essentially true stories. The second consisted of literary forgeries, which Borges initially passed off as translations of passages from famous but seldom-read works. In the following years, he served as a literary adviser for the publishing house Emecé Editores and wrote weekly columns for El Hogar, which appeared from 1936 to 1939.
In 1937, Borges found work as first assistant at the Miguel Cané branch of the Buenos Aires Municipal Library. His fellow employees forbade him from cataloguing more than 100 books per day, a task which took him about an hour. The rest of his time he spent in the basement of the library, writing articles and short stories.
Borges's urbane character allowed him to free himself from the trap of local color. The varying genealogies of characters, settings, and themes in his stories, such as "La muerte y la brújula", used Argentine models without pandering to his readers. In his essay "El escritor argentino y la tradición", Borges notes that the very absence of camels in the Qu'ran was proof enough that it was an Arabian work. He suggested that only someone trying to write an "Arab" work would purposefully include a camel. He uses this example to illustrate how his dialogue with universal existential concerns was just as Argentine as writing about gauchos and tangos (subjects he himself used).
Jorge Luis Borges (August 24, 1899 – June 14, 1986) was an Argentine writer who is considered to be one of the foremost writers of the 20th century. A poet and an essayist, Borges is generally best-known for his short stories.
His work embraces the "character of unreality in all literature. His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, animals, fictional writers, religion and God. His works have contributed to the genre of science fiction as well as the genre of magical realism, a genre that reacted against the realism/naturalism of the nineteenth century.[3][4][5] In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (1935).Scholars also have suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.
His international fame was consolidated in the 1960s, aided by the "Latin American Boom" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). 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.
Early life and education of Jorge Luis Borges
Jorge Luis Borges was born in an educated middle-class family in August 1899. They were in comfortable circumstances, but not wealthy enough to live in downtown Buenos Aires. They resided in Palermo, then a poorer suburb of the city. Borges's mother, Leonor Acevedo Suárez, came from a traditional Uruguayan family of "pure" criollo (Spanish) descent. Her family had been much involved in the European settling of South America and she spoke often of their heroic actions.Borges's 1929 book Cuaderno San Martín includes the poem "Isidoro Acevedo," commemorating his grandfather, Isidoro de Acevedo Laprida, a soldier of the Buenos Aires Army. A descendant of the Argentine lawyer and politician Francisco Narciso de Laprida, Acevedo fought in the battles of Cepeda in 1859, Pavón in 1861, and Los Corrales in 1880. Isidoro de Acevedo Laprida died of pulmonary congestion in the house where his grandson Jorge Luis Borges was born. Borges grew up hearing about the faded family glory. On the other side, Borges's father, Jorge Guillermo Borges Haslam, was part Spanish, part Portuguese, and half English, also the son of a colonel. Borges Haslam, whose mother was English, grew up speaking English at home, and took his own family frequently to Europe. England and English pervaded the family home.
Early writing career of Jorge Luis Borges
In 1921, Borges returned with his family to Buenos Aires, where he imported the doctrine of Ultraism and launched his career, publishing surreal poems and essays in literary journals. In 1930, Nestor Ibarra called Borges the "Great Apostle of Criollismo." His first published collection of poetry was Fervor de Buenos Aires (1923). He contributed to the avant-garde review Martín Fierro (whose "art for art's sake" approach contrasted to that of the more politically involved Boedo group). Borges co-founded the journals Prisma, a broadsheet distributed largely by pasting copies to walls in Buenos Aires, and Proa. Later in life Borges regretted some of these early publications, and attempted to purchase all known copies to ensure their destruction.
By the mid-1930s, he began to explore existential questions. He also worked in a style that Ana María Barrenechea has called "irreality." Borges was not alone in this task. Many other Latin American writers, such as Juan Rulfo, Juan José Arreola, and Alejo Carpentier, investigated these themes, influenced by the phenomenology of Husserl and Heidegger or the existentialism of Jean-Paul Sartre. Even though existentialism saw its apogee during the years of Borges's greatest artistic production, it can be argued that his choice of topics largely ignored existentialism's central tenets. To that point, critic Paul de Man wrote:
"Whatever Borges's existential anxieties may be, they have little in common with Sartre's robustly prosaic view of literature, with the earnestness of Camus' moralism, or with the weighty profundity of German existential thought. Rather, they are the consistent expansion of a purely poetic consciousness to its furthest limits."
From the first issue, Borges was a regular contributor to Sur, founded in 1931 by Victoria Ocampo. It was then Argentina's most important literary journal. Ocampo introduced Borges to Adolfo Bioy Casares, another well-known figure of Argentine literature, who was to become a frequent collaborator and dear friend. Together they wrote a number of works, some under the nom de plume H. Bustos Domecq, including a parody detective series and fantasy stories.
During these years a family friend Macedonio Fernández became a major influence on Borges. The two would preside over discussions in cafés, country retreats, or Fernández' tiny apartment in the Balvanera district.
In 1933 Borges gained an editorial appointment at the literary supplement of the newspaper Crítica, where he first published the pieces later collected as the Historia universal de la infamia (A Universal History of Infamy). This involved two types of pieces. The first lay somewhere between non-fictional essays and short stories, using fictional techniques to tell essentially true stories. The second consisted of literary forgeries, which Borges initially passed off as translations of passages from famous but seldom-read works. In the following years, he served as a literary adviser for the publishing house Emecé Editores and wrote weekly columns for El Hogar, which appeared from 1936 to 1939.
In 1937, Borges found work as first assistant at the Miguel Cané branch of the Buenos Aires Municipal Library. His fellow employees forbade him from cataloguing more than 100 books per day, a task which took him about an hour. The rest of his time he spent in the basement of the library, writing articles and short stories.
Borges's urbane character allowed him to free himself from the trap of local color. The varying genealogies of characters, settings, and themes in his stories, such as "La muerte y la brújula", used Argentine models without pandering to his readers. In his essay "El escritor argentino y la tradición", Borges notes that the very absence of camels in the Qu'ran was proof enough that it was an Arabian work. He suggested that only someone trying to write an "Arab" work would purposefully include a camel. He uses this example to illustrate how his dialogue with universal existential concerns was just as Argentine as writing about gauchos and tangos (subjects he himself used).
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