Jorge Luis Borges

“Nothing is built on stone; All is built on sand, but we must build as if the sand were stone.”

“How can we manage to illuminate the pathos of our lives?”

“Puis il réfléchit: la réalité ne coïncide habituellement pas avec les prévisions; avec une logique perverse, il en déduisit que prévoir un détail circonstanciel, c'est empêcher que celui-ci se réalise. Fidèle à cette faible magie, il inventait, pour les empêcher de se réaliser, des péripéties atroces; naturellement, il finit par craindre que ces péripéties ne fussent prophétiques. Misérable dans la nuit, il essayait de s'affirmer en quelque sorte dans la substance fugitive du temps. Il savait que celui-ci se précipitait vers l'aube du 29; il raisonnait à haute voix; je suis maintenant dans la nuit du 22; tant que durera cette nuit (et six nuits de plus) je suis invulnérable, immortel. Il pensait que les nuits de sommeil étaient des piscines profondes et sombres dans lesquels il pouvait se plonger. Il souhaitait parfois avec impatience la décharge définitive qui le libérerait tant bien que mal de son vain travail d'imagination.”

“Upstream, Arkansas and Ohio have their bottomlands, too, populated by a jaundiced and hungry-looking race, prone to fevers, whose eyes gleam at the sight of stone and iron, for they know only sand and driftwood and muddy water.”

“Image is sorcery.”

“Then I reflect that all things happen, happen to one, precisely now. Century follows century, and things happen only in the present. There are countless men in the air, on land and at sea, and all that really happens happens to me.”

“The central problem of novel-writing is causality.”

“Their books are also different. Works of fiction contain a single plot, with all its imaginable permutations. Those of a philosophical nature invariably include both the thesis and the antithesis, the rigorous pro and con of a doctrine. A book which does not contain its counterbook is considered incomplete.”

“Let not the rash marble riskgarrulous breaches of oblivion's omnipotence,in many words recallingname, renown, events, birthplace.All those glass jewels are best left in the dark.Let not the marble say what men do not.The essentials of the dead man's life--the trembling hope,the implacable miracle of pain, the wonder of sensual delight--will abide forever.Blindly the uncertain soul asks to continuewhen it is the lives of others that will make that happen,as you yourself are the mirror and imageof those who did not live as long as youand others will be (and are) your immortality on earth.”

“Boast of QuietnessWritings of light assault the darkness, more prodigious than meteors.The tall unknowable city takes over the countryside.Sure of my life and death, I observe the ambitious and would like tounderstand them.Their day is greedy as a lariat in the air.Their night is a rest from the rage within steel, quick to attack.They speak of humanity.My humanity is in feeling we are all voices of that same poverty.They speak of homeland.My homeland is the rhythm of a guitar, a few portraits, an old sword,the willow grove's visible prayer as evening falls.Time is living me.More silent than my shadow, I pass through the loftily covetous multitude.They are indispensable, singular, worthy of tomorrow.My name is someone and anyone.I walk slowly, like one who comes from so far away he doesn't expect to arrive.”

“You can't measure time by days, the way you measure money by dollars and cents, because dollars are all the same while every day is different and maybe every hour as well.”

“A writer, or any man, must believe that whatever happens to him is an instrument; everything has been given for an end. This is even stronger in the case of the artist. Everything that happens, including humiliations, embarrassments, misfortunes, all has been given like clay, like material for one's art. One must accept it. ”

“I...have always known that my destiny was, above all, a literary destiny — that bad things and some good things would happen to me, but that, in the long run, all of it would be convertedinto words. Particularly the bad things, since happiness does not need to be transformed: happiness is its own end.”

“Why do you seem so annoyed at what I'm saying?""Because we're too much like each other. I loathe your face, which is a caricature of mine, I loathe your voice, which is a mockery of mine, I loathe your pathetic syntax, which is my own.”

“He was very religious; he believed that he had a secret pact with God which exempted him from doing good in exchange for prayers and piety.”

“Tearing money is an impiety, like throwing away bread.”

“Emma dropped the paper. Her first impression was of a weak feeling in her stomach and in her knees; then of blind guilt, of unreality, of coldness, of fear; then she wished that it were already the next day. Immediately afterwards she realized that that wish was futile because the death of her father was the only thing that had happened in the world, and it would go on happening endlessly.”

“It's a shame that we have to choose between two such second-rate countries as the USSR and the USA.”

“Unappreciated because too many of his [Rudyard Kipling's] peers were socialists.”

“Such a pity that he [GK Chesterton] became a Catholic.”

“Reality is partial to symmetry and slight anachronisms”

“When you reach my age, you realize you couldn't have done things very much better or much worse than you did them in the first place.”

“I tada, kao i danas, svet beše surov; samo su ga srčani mogli proputovati, ali i bednici, koji se na sve priviknu.”

“De los diversos instrumentos inventados por el hombre, el más asombroso es el libro; todos los demás son extensiones de su cuerpo… Sólo el libro es una extensión de la imaginación y la memoria”.”

“The dictionary is based on the hypothesis -- obviously an unproven one -- that languages are made up of equivalent synonyms.”

“Truly fine poetry must be read aloud. A good poem does not allow itself to be read in a low voice or silently. If we can read it silently, it is not a valid poem: a poem demands pronunciation. Poetry always remembers that it was an oral art before it was a written art. It remembers that it was first song.”

“Let no one reduce to tears or reproach This statement of the mastery of God, Who, with magnificent irony, gave Me at once both books and night Of this city of books He pronounced rulers These lightless eyes, who can only Peruse in libraries of dreams The insensible paragraphs that yield With every new dawn. Vainly does the day Lavish on them its infinite books, Arduous as the arduous manuscripts Which at Alexandria did perish. Of hunger and thirst (a Greek story tells us) Dies a king amidst fountains and gardens; I aimlessly weary at the confines Of this tall and deep blind library. Encyclopedias, atlases, the East And the West, centuries, dynasties Symbols, cosmos and cosmogonies Do walls proffer, but pointlessly. Slow in my shadow, I the hollow shade Explore with my indecisive cane; To think I had imagined Paradise In the form of such a library. Something, certainly not termed Fate, rules on such things; Another had received in blurry Afternoons both books and shadow. Wandering through these slow corridors I often feel with a vague and sacred dread That I am another, the dead one, who must Have trodden the same steps at the same time. Which of the two is now writing this poem Of a plural I and of a single shadow? How important is the word that names me If the anathema is one and indivisible? Groussac or Borges, I see this darling World deform and extinguish To a pale, uncertain ash Resembling sleep and oblivion”

“I believe that in time we will have reached the point where we will deserve to be free of government.”

“i walk slowly, like one who comes from so far away he doesn't expect to arrive.”

“The art of writing is mysterious, the opinions we hold are ephemeral....”

“I know what the Greeks do not know, incertitude.”

“There are objects made up of two sense elements, one visual, the other auditory—the colour of a sunrise and the distant call of a bird. Other objects are made up of many elements—the sun, the water against the swimmer's chest, the vague quivering pink which one sees when the eyes are closed, the feeling of being swept away by a river or by sleep. These second degree objects can be combined with others; using certain abbreviations, the process is practically an infinite one. There are famous poems made up of one enormous word, a word which in truth forms a poetic object, the creation of the writer. The fact that no one believes that nouns refer to an actual reality means, paradoxically enough, that there is no limit to the numbers of them.”

“Literature is not exhaustible, for the sufficient and simple reason that a single book is not.”

“Another school declares that all time has already transpired and that our life is only the crepuscular and no doubt falsified and mutilated memory or reflection of an irrecoverable process.”

“Israelites, Christians and Muslims profess immortality, but the veneration they render this world proves they believe only in it, since they destine all other worlds, in infinite number, to be its reward or punishment.”

“To say good-bye is to deny separation; it is to say Today we play at going our own ways, but we'll see each other tomorrow. Men invented farewells because they somehow knew themselves to be immortal, even while seeing themselves as contingent and ephemeral.”

“Publicamos para não passar a vida a corrigir rascunhos. Quer dizer, a gente publica um livro para livrar-se dele”

“¿De qué otra forma se puede amenazar que no sea de muerte? Lo interesante, lo original, sería que alguien lo amenace a uno con la inmortalidad.”

“On February 14, I received a telegram from Buenos Aires urging me to return home immediately; my father was "not at all well." God forgive me, but the prestige of being the recipient of an urgent telegram, the desire to communicate to all of Fray Bentos the contradiction between the negative form of the news and the absoluteness of the adverbial phrase, the temptation to dramatize my grief by feigning a virile stoicism-all this perhaps distracted me from any possibility of real pain.”

“Heaven and hell seem out of proportion to me: the actions of men do not deserve so much.”

“Tu ausencia me rodeacomo la cuerda a la garganta,el mar al que se hunde. ”

“Fame is a form - perhaps the worst form - of incomprehension.”

“Then he reflected that reality does not usually coincide with our anticipation of it; with a logic of his own he inferred that to forsee a circumstantial detail is to prevent its happening. Trusting in this weak magic, he invented, so that they would not happen, the most gruesome details.”

“The original is unfaithful to the translation.”

“Estoy solo y no hay nadie en el espejo.”

“There is an hour of the afternoon when the plain is on the verge of saying something. It never says, or perhaps it says it infinitely, or perhaps we do not understand it, or we understand it and it is untranslatable as music.”

“We have shared out, like thieves, the amazing treasures of days and nights.”

“Sometimes a few birds, a horse, have saved the ruins of an amphitheater.”

“Que otros se jacten de las páginas que han escrito; a mí me enorgullecen las que he leído.”

“His life, measured in space and time, will take up a mere few lines, which my ignorance will abbreviate further.”