The method of Borges
Someone wrote about Borges:
Borges also employed two very unusual literary forms: the literary forgery and the review of an imaginary work. Both constitute a form of modern pseudo-epigrapha.
Borges’s best-known set of literary forgeries date from his early work as a translator and literary critic with a regular column in the Argentine magazine El Hogar. Along with publishing numerous legitimate translations, he also published original works after the style of the likes of Emanuel Swedenborg or The Book of One Thousand and One Nights, originally passing them off as translations of things he had come upon in his reading. Several of these are gathered in the Universal History of Infamy. He continued this pattern of literary forgery at several points in his career, for example sneaking three short, falsely attributed pieces into his otherwise legitimate and carefully researched anthology El matrero.
At times, confronted with an idea for a work that bordered on the conceptual, Borges chose — instead of following through with the idea in the obvious way, by writing a piece that fulfilled the concept — to write a review of a nonexistent work, writing as though the work had already been created by some other person. The most famous example of this is “Pierre Menard, Author of the Quixote”, which imagines a twentieth-century Frenchman who so immerses himself in the world of sixteenth-century Spain that he can sit down and create a large portion of Miguel de Cervantes’s Don Quixote verbatim, not by having memorized Cervantes’s work, but as an “original” work of his own mind. Borges’s “review” of the work of the fictional Menard effectively discusses the resonances that Don Quixote has picked up over the centuries since it was written, by way of overtly discussing how much richer Menard’s work is than Cervantes’s (verbatim identical) work.
While Borges was certainly the great popularizer of the review of an imaginary work, it was not his own invention. It is likely that he first encountered the idea in Thomas Carlyle’s Sartor Resartus, a book-length review of a non-existent German transcendentalist philosophical work and biography of its equally non-existent author. This Craft of Verse (p. 104), records Borges as saying that in 1916 in Geneva he “discovered — and was overwhelmed by — Thomas Carlyle. I read Sartor Resartus, and I can recall many of its pages; I know them by heart.” In the introduction to his first published volume of fiction, The Garden of Forking Paths, Borges remarks, “It is a laborious madness and an impoverishing one, the madness of composing vast books – setting out in five hundred pages an idea that can be perfectly related orally in five minutes. The better way to go about it is to pretend that those books already exist, and offer a summary, a commentary on them.” He then cites both Sartor Resartus and Samuel Butler’s The Fair Haven, remarking, however, that “those works suffer under the imperfection that they themselves are books, and not a whit less tautological than the others. A more reasonable, more inept, and more lazy man, I have chosen to write notes on imaginary books.” [Collected Fictions, p.67]
