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By Benjamin, Walter; Borges, Jorge Luis; Jenckes, Kate; Benjamin, Walter; Borges, Jorge Luis

Together with unique readings of a few of Benjamin's most interesting essays, this e-book examines a sequence of Borges's works as allegories of Argentine modernity.

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Reading Borges after Benjamin : allegory, afterlife, and the writing of history

Including unique readings of a few of Benjamin's most interesting essays, this publication examines a sequence of Borges's works as allegories of Argentine modernity.

Extra resources for Reading Borges after Benjamin : allegory, afterlife, and the writing of history

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Buenos Aires no pudo mirar esa muerte” (“the deep tenements of the South / sent death onto the face of Buenos Aires / . . Buenos Aires couldn’t look at that death,” OP 102). This death that does not have a place in the city fits well into the orillas, where loss is familiar and forms a subject of its music. The poet recites a song that he hears there, not dissimilar to the “música esperada y antigua” described in “Calle desconocida”: La muerte es vida vivida la vida es muerte que viene la vida no es otra cosa que muerte que anda luciendo.

Nos buscan”). However, the search of these anguished voices goes unfulfilled. Their “flat voice” (“voz lacia”) is lost in the light of day and the tumult of the present that enters from the street. 18 The title “Rosas” refers to the nineteenth-century dictator Juan Manuel Rosas, whose tyranny Borges denounced throughout his life (and who is most likely the referent of the “antigua vileza” in “Casi juicio final”). This poem also begins in a “sala tranquila,” marked only by watch time: En la sala tranquila cuyo reloj austero derrama un tiempo ya sin aventuras ni asombro sobre la decente blancura que amortaja la pasión roja de la caoba, alguien, como reproche cariñoso, pronunció el nombre familiar y temido.

This is the opposite of an onomastic index where present identity is securely established on lines drawn from the past. Allegory ruptures the concept of an autonomous self-identity, revealing that there can only be a “being with” the fragments of existence, past and present. We have moved, then, from the “lentas filas de panteones” in “La Recoleta,” where the engraved names and dates order the world into precise distinctions, to a poetics in which such distinctions do not seem to hold up: where the past intrudes on the sepulchers of the present, where the name explodes into echoes, and where the nameless poet walks slowly but endlessly through time with no apparent origin or end.

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