Jorge Luis Borges was our century's greatest miniaturist, perpetually cramming entire universes onto the head of a pin. Yet his splendid economy, along the wafer-thin proportions of such classic volumes as Ficciones and Labyrinths, has given readers the impression that Borges was miserly with his prose. In fact, he was something of a verbal spendthrift. His collected stories alone run to nearly 1,000 pages. And his nonfiction output was even more staggering: the young Borges cranked out hundreds of essays, book notes, cultural polemics, and movie reviews, and even after he lost his sight in 1955, he continued to dictate short pieces by the dozens. Eliot Weinberger has assembled just a fraction of this outpouring in Selected Non-Fictions, and the result is a 559-page Borgesian blowout, in which the Argentinean fabulist takes on being and nothingness, James Joyce and Lana Turner, and (surprisingly) racial hatred and the rise of Nazism. So much for our image of the mandarin bookworm! The very engagé author of this book seems more like a subequatorial Camus, with a dash of Siskel and Ebert on the side.

Selected Non-Fictions demonstrates just how quickly Borges began wrestling with such brainteasers as identity, time, and infinity. Indeed, the very first piece in the collection, "The Nothingness of Personality" (1922), already finds him fiddling with the self: "I, as I write this, am only a certainty that seeks out the words that are most apt to compel your attention. That proposition and a few muscular sensations, and the sight of the limpid branches that the trees place outside my window, constitute my current I." There are many such meditations here, including "A History of Eternity" (in which Borges maps out his own, disarmingly empty version of the eternal, "without a God or even a co-proprietor, and entirely devoid of archetypes"). But it's more fun--and more revelatory--to see the author venturing beyond his metaphysical stomping grounds. Borges on King Kong is a hoot, and a cornball masterpiece such as The Petrified Forest elicits this terrific nugget: "Death works in this film like hypnosis or alcohol: it brings the recesses of the soul into the light of day." His capsule biographies are a delight, his critiques of Nazi propaganda are memorably stringent, and nobody should miss him on the tango. True, the sheer variety and mind-boggling erudition of Selected Non-Fictions can be a little forbidding. But, taken as a whole, the collection surely meets the specifications that Borges laid out in a 1927 essay on literary pleasure: "If only some eternal book existed, primed for our enjoyment and whims, no less inventive in the populous morning as in the secluded night, oriented toward all hours of the world." Oh, but it does. --James Marcus


From Publishers Weekly
Reviewing a book that seeks to validate the existence of ghosts through testimony by the upper crust of British society, Borges writes: "the Honorable Reginald Fortescue became a firm believer in the existence of 'an alarming spectre.' As for myself, I don't know what to think: for the moment, I refuse to believe in the alarming Reginald Fortescue until an honorable spectre becomes a firm believer in his existence." In this compilation of nonfiction prose, the third of Viking's magisterial three-volume collection of Borges's complete works, a new, fuller Borges emerges, as the writer becomes a joker; the fabulist shows himself to be a rationalistic skeptic; and the alleged conservative skewers upper-class pretensions. We also find the familiar man of letters in such classic essays as "A New Refutation of Time" and "Kafka's Precursors" (which foreshadows the most interesting ideas of Harold Bloom in a mere two and a half pages). Among the gems to appear in English for the first time are slyly brilliant literary essays, such as an appreciation of Flaubert's enigmatic novel, Bouvard and P?cuchet, and an authoritative critical history of the translations of the 1001 Nights. Other newly available aspects of Borges's oeuvre are trenchant critiques of Argentinean anti-Semitism; contemporary reviews of such works as Citizen Kane, Absalom, Absalom and Finnegan's Wake (Borges finds it incomprehensible); and capsule literary biographies for a woman's magazine. While the translations capture Borges's unfailingly elegant style, the editing at times seems overly academic: certain sentences, even paragraphs, are repeated, and certain topics (particularly time and eternity) are overrepresented, a tendency that makes the book rather difficult to read straight through. Even so, this is a volume of inexhaustible delights. First serial to Grand Street. (Sept.) Copyright 1999 Reed Business Information, Inc.


From Library Journal
After Collected Fictions and Selected Poems, nonfiction pieces from a 20th-century master, making up a three-volume centenary edition. Copyright 1999 Reed Business Information, Inc.


Alexander Theroux, The Wall Street Journal
Superb ... indispensable to both the longtime Borges reader and the newcomer.


The New York Times, Richard Bernstein
He is most widely read for his fiction, but this intelligently selected and magically translated collection of Borges' nonfiction demonstrates, among other things, the closeness of his two worlds, reality and invention.


Robert Irwin, The Washington Post Book World
The sheer range of cultural territory covered in these essays compels awe and bemusement.


From Booklist
Borges, the great Argentinian writer, was born 100 years ago this year, and to mark the occasion, Viking is publishing a three-volume English-language edition of his works. Collected Fictions (1998) and Selected Poems appeared previously and is now followed by a compilation of nonfiction. The introduction notes that Borges was "sworn to the virtue of concision," and the essays, prologues, book and film reviews, lectures, and other occasional pieces gathered here demonstrate that characteristic perfectly. The entire span of Borges' writing career is represented. That he was at home in erudition is well known, but that he also was well versed in popular culture will amaze many readers. (His history of the tango brings up interesting points.) Some of the best writing in the book are the "Capsule Biographies," each a page in length and beautifully highlighting such writers as Isaac Babel and T. S. Eliot. A trenchant assessor even of politics, Borges in one essay refers to Hitler as "this atrocious offspring of Versailles." Unforgettable eloquence. Brad Hooper


From Kirkus Reviews
Familiar essays and lectures by the great Argentine fantasist, plus many hitherto uncollected pieces. Borges (18991986) first appeared on the American scene in 1962, when his Ficciones abruptly made it plain that a major foreign writer had escaped our attention for quite a while. Since then, our publishing houses have been briskly making up for lost time, issuing a wide variety of anthologies and collections. This one, honoring the authors centenary, comprises no fewer than 150 separate nonfiction pieces: essays, lectures, book and movie reviews, magazine articles, journalistic commentary, prologues to Spanish translations of books from other languages. This is a lot of Borges, and the volumes bulk runs counter to the spirit of his creativity. A modest and always fastidious writer, he cultivated short forms with great success; consequently, to have so much of his occasional writing deposited in one clump may not have been to his taste. Still, its good to reread familiar pieces and discover a few new ones. Curiously, the expanded Borges does not open new vistas on this writer. Instead, it serves to confirm that his imagination circled back continually and always fruitfully to topics and figures that preoccupied him: De Quincey, The Arabian Nights, Chesterton, Schopenhauer, the Kabbalah, Nietzsche, Argentine identity, Buddhism, and the idea, variously ramified, of infinity. His characteristic pose is that of slightly pedantic bookishness, as in this opening: ``I read, a few days ago, that the man who ordered the building of the almost infinite Chinese Wall was that first Emperor, Shih Huang Ti, who also decreed the burning of all books that had been written before his time.'' Apart from a little new information about this or that, what we always come away with is a deepened understanding of how passionate and rich the literary life can be. Fresh translations, useful and unintrusive notes (editor Weinberger has also translated the poetry of Octavio Paz), several new pieces of writing, but not a leap into an altered vision of Borges. (First serial to Grand Street) -- Copyright ©1999, Kirkus Associates, LP. All rights reserved.


Richard Bernstein, the New York Times
One reads these many essays...with amazement at their author's impetuous curiosity and penetrating intelligence.


Book Description
This unique volume presents a Borges almost entirely unknown to American readers: his extraordinary non--fiction prose. Borges' unlimited curiosity and almost superhuman erudition become, in his essays, reviews, lectures, and political and cultural notes, a vortex for seemingly the entire universe: Dante and Ellery Queen; Shakespeare and the Kabbalah; the history of angels and the history of the tango; the Buddha, Bette Davis, and the Dionne Quints.

Winner of the National Book Critics Circle Award in criticism
Chosen International Book of the Year by George Steiner in the Times Literary Supplement


Language Notes
Text: English (translation)
Original Language: Spanish


About the Author
One of the twentieth century's greatest writers, Jorge Luis Borges (1899--1986) published numerous collections of poems, essays, and fiction. He received the Jerusalem Prize and the Alfonso Reyes Prize.
Eliot Weinberger's books include translations of the Collected Poems 1957--1987 of Octovio Paz and Borges' Seven Nights. In 1992, he was named the first recipient of the PEN/Kolovakos Award for his work promoting Hispanic culture in the United States.

ANNOTATION

Winner of the National Book Critic's Circle Award for Criticism.

FROM THE PUBLISHER

This unique volume presents a Borges almost entirely unknown to American readers: his extraordinary non—fiction prose. Borges' unlimited curiosity and almost superhuman erudition become, in his essays, reviews, lectures, and political and cultural notes, a vortex for seemingly the entire universe: Dante and Ellery Queen; Shakespeare and the Kabbalah; the history of angels and the history of the tango; the Buddha, Bette Davis, and the Dionne Quints.

"The sheer range of cultural territory covered in these essays compels awe and bemusement." —Robert Irwin, The Washington Post Book World

"Superb ... indispensable to both the longtime Borges reader and the newcomer."—Alexander Theroux, The Wall Street Journal

"One reads these many essays ... with amazement at their author's impetuous curiosity and penetrating intelligence." —Richard Bernstein, the New York Times

Winner of the National Book Critics Circle Award in criticism
Chosen International Book of the Year by George Steiner in the Times Literary Supplement

FROM THE CRITICS

Joshua Klein

It has been said of Shakespeare's genius that were his plays not easy to write, they would have been impossible. The implication is that under Shakespeare's working conditions--dim candlelight, quill and ink on parchment--the Bard could not have been so astoundingly prolific had his enduring classics not emerged from his mind all but fully formed. That's also the root of persistent yet baseless rumors that Shakespeare's works were not all of his own devising; how could one man truly be so great? But you don't work hard to become a genius: Genius drives you to work hard. A perfect example is Argentine writer Jorge Luis Borges. Revered for his intellect and fascinating breadth of knowledge, Borges is best know for his fiction and poetry. Along with James Joyce, Joseph Conrad, and Vladimir Nabakov, he's universally regarded as one of the great 20th-century authors to have never been awarded a Nobel Prize in literature. Yet until his death in 1986, Borges wrote a vast expanse of essays, reviews, and other non-fiction pieces, much of it collected and made available in English for the first time in Selected Non-Fictions. Edited by Eliot Weinberger and diligently translated by Weinberger and two helping hands, the book is a revelation. Much of Borges' non-fiction echoes the metaphysical themes of his fiction, and his favorite subjects (The Arabian Nights, Don Quixote) recur again and again. But perhaps the most revealing aspect of Selected Non-Fictions is Borges' meeting with the mundane. It seems that over the course of his 87 years, he consumed and digested anything he could. Consequently, Selected Non-Fictions' pieces reflect his fascination with the profound (religion, war), the popular (King Kong, which he pans for its clunky ape portrayal), and some combination of the two (a positive review of Joyce's Ulysses, even though Borges, to the empowerment of college students around the world, admits he hasn't read the whole thing). Selected Non-Fictions also collects some hilarious reviews of popular detective fiction and the like that Borges wrote for El Hugar (an Argentine women's magazine), a few commissioned prologues, and, ultimately, transcripts of speeches and lectures made after he had gone blind. Reading through the book's surprisingly accessible and entertaining works raises a perplexing question: How can one man know so much about everything? Thankfully, with Selected Non-Fictions, Borges' enviable gifts have been made more apparent than ever before.

Publishers Weekly

Reviewing a book that seeks to validate the existence of ghosts through testimony by the upper crust of British society, Borges writes: "the Honorable Reginald Fortescue became a firm believer in the existence of `an alarming spectre.' As for myself, I don't know what to think: for the moment, I refuse to believe in the alarming Reginald Fortescue until an honorable spectre becomes a firm believer in his existence." In this compilation of nonfiction prose, the third of Viking's magisterial three-volume collection of Borges's complete works, a new, fuller Borges emerges, as the writer becomes a joker; the fabulist shows himself to be a rationalistic skeptic; and the alleged conservative skewers upper-class pretensions. We also find the familiar man of letters in such classic essays as "A New Refutation of Time" and "Kafka's Precursors" (which foreshadows the most interesting ideas of Harold Bloom in a mere two and a half pages). Among the gems to appear in English for the first time are slyly brilliant literary essays, such as an appreciation of Flaubert's enigmatic novel, Bouvard and P cuchet, and an authoritative critical history of the translations of the 1001 Nights. Other newly available aspects of Borges's oeuvre are trenchant critiques of Argentinean anti-Semitism; contemporary reviews of such works as Citizen Kane, Absalom, Absalom and Finnegan's Wake (Borges finds it incomprehensible); and capsule literary biographies for a woman's magazine. While the translations capture Borges's unfailingly elegant style, the editing at times seems overly academic: certain sentences, even paragraphs, are repeated, and certain topics (particularly time and eternity) are overrepresented, a tendency that makes the book rather difficult to read straight through. Even so, this is a volume of inexhaustible delights. First serial to Grand Street. (Sept.) Copyright 1999 Cahners Business Information.

Library Journal

After Collected Fictions and Selected Poems, nonfiction pieces from a 20th-century master, making up a three-volume centenary edition. Copyright 1999 Cahners Business Information.

Kirkus Reviews

Mirrors, labyrinths, libraries, gardens, doppelg￯﾿ﾽngers, knife fights, and tigers recur memorably in these witty, colorful tales'which have exerted an incalculable influence on the past half-century's fiction. For this first installment in a projected three-volume series of Borges's work (to be followed by poetry and nonfiction collections), translator-editor Hurley has included the contents of seven previously published books (notably, the seminal Ficciones, 1944), plus previously untranslated work from the 1980s (of which Shakespeare's Memory most successfully recapitulates Borges's urbane bridging of temporal and imaginary "worlds"). Gloriously ruminative and bookish, Borges's teasing fictions skillfully absorb the influences of his native Argentina's indigenous folktales, various world mythologies, Anglo-Saxon verse, Icelandic saga, Poe, Cervantes, and Chesterton, along with numerous other literary touchstones. Among the best: the arcane pseudohistory of an imaginary planet ("Tlon, Ugbar, Orbus Tertius"); a memorable realization of Borges's credo that all "new" stories are inevitably old ones retold ("Pierre Menard, Author of the Quixote"); a clever lampooning of the author's own polymathism ("Funes the Memorious"); and a supremely ingenious detective story ("Death and the Compass"). Authoritative testimony to the virtues of eclecticism and cosmopolitanism, and a matchless gift to readers that belongs, as the old saying goes, in every library. (First serial to The New Yorker, The New York Review of Books, and Grand Street)