“Hell had become, over the years, a wearisome speculation. Even its proselytizers have neglected it, abandoning the poor, but serviceable, human allusion which the ecclesiastic fires of the Holy Office once had in this world: a temporal torment, of course, but one that was not unworthy, within its terrestrial limitations, of being a metaphor for the immortal, for the perfect pain without destruction that the objects of divine wrath will forever endure. Whether or not this hypothesis is satisfactoy, an increasing lassitude in the propaganda of the institution is indisputable. (Do not be alarmed; I use propaganda here not in its commercial but rather in its Catholic genealogy: a congregation of cardinals.)”

“A: Absorbed in our discussion of immortality, we had let night fall without lighting the lamp, and we couldn't see each other's faces. With an offhandedness or gentleness more convincing than passion would have been, Macedonio Fernandez' voice said once more that the soul is immortal. He assured me that the death of the body is altogether insignificant, and that dying has to be the most unimportant thing that can happen to a man. I was playing with Macedonio's pocketknife, opening and closing it. A nearby accordion was infinitely dispatching La Comparsita, that dismaying trifle that so many people like because it's been misrepresented to them as being old... I suggested to Macedonio that we kill ourselves, so we might have our discussion without all that racket. Z: (mockingly) But I suspect that at the last moment you reconsidered. A: (now deep in mysticism) Quite frankly, I don't remember whether we committed suicide that night or not.”

“Poem Written in a Copy of BeowulfAt various times, I have asked myself what reasonsmoved me to study, while my night came down,without particular hope of satisfaction,the language of the blunt-tongued Anglo-Saxons.Used up by the years, my memoryloses its grip on words that I have vainlyrepeated and repeated. My life in the same wayweaves and unweaves its weary history.Then I tell myself: it must be that the soulhas some secret, sufficient way of knowingthat it is immortal, that its vast, encompassingcircle can take in all, can accomplish all.Beyond my anxiety, beyond this writing,the universe waits, inexhaustible, inviting.”

“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.”

“It is love. I will have to run or hide.The walls of its prison rise up, as in a twisted dream. The beautiful mask has changed, but as always it is the one. Of what use are my talismans: the literary exercises, the vague erudition, the knowledge of words used by the harsh North to sing its seas and swords, the temperate friendship, the galleries of the Library, the common things, the habits, the young love of my mother, the militant shadow of my dead, the timeless night, the taste of dreams?Being with you or being without you is the measure of my time.Now the pitcher breaks about the spring, now the man arises to the sound of birds, now those that watch at the windows have gone dark, but the darkness has brought no peace.It, I know, is love: the anxiety and the relief at hearing your voice, the expectation and the memory, the horror of living in succession.It is love with its mythologies, with its tiny useless magics.There exists a corner that I dare not cross.Now the armies confine me, the hordes.(This room is unreal; she has not seen it.)The name of a woman gives me away.A woman hurts me in all of my body.”

“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.”

“The mind was dreaming. The world was its dream.”