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Jorge Luis Borges (1899-1986)


Borges Por El Mismo aka Borges in His Own Voice (1967)

  1. El General Quiroga va en coche al muere (1.42)
  2. Poema conjetural (2.50)
  3. Fundación mítica de Buenos Aires (2.26)
  4. Un soldado de Urbina (0.50)
  5. El Gólem (4.23)
  6. Milonga de dos hermanos (1.15)
  7. Milonga de Jacinto Chiclana (1.50)
  8. Alusión a una sombra de mil ochocientos noventa y tantos (0.50)
  9. Everness (0.50)
  10. Límites (2.21)
  11. Spinoza (0.47)
  12. A Leopoldo Lugones
  13. El General Quiroga va en coche al muere
  14. Poema conjetural
  15. Fundación mítica de Buenos Aires
  16. Manuscrito hallado en un libro de Joseph Conrad
  17. Página para recordar al Coronel Suárez
  18. Milonga de dos hermanos
  19. Borges y yo
  20. Milonga de Jacinto Chiclana
  21. La noche que en el Sur lo velaron
  22. Alusión a la muerte del Coronel Francisco Borge
  23. Del rigor en la ciencia
  24. Cuarteta
  25. El poeta declara su nombradía
  26. Le regret d’Heraclite
  27. Poema de los dones
  28. Ajedrez I
  29. Ajedrez II
  30. Arte poética
  31. El mar
  32. El laberinto

Para más de uno será una sorpresa verlo a Borges aquí.

No ha sido precisamente un paradigma de la izquierda latinoamericana y, por el contrario, sobre todo los últimos años de su vida lo encontraron en posiciones que no fueron las mejores.

Pero es innegable la cercanía de este escritor y poeta (para muchos, el más grande que dieron las letras argentinas) con ciertos aspectos de lo popular, del malevaje, de los suburbios. Tan contradictorio como sus orígenes familiares, divididos entre la vieja Inglaterra y una familia tradicional venida a menos (los Acevedo), Borges es capaz de abordar desde las profundidades de la mitología escandinava hasta los duelos entre cuchilleros en el Bajo Palermo de sus primeros años.

No en vano Piazzola le puso música a algunos de sus versos (como puede verse en una vieja entrada del blog) o el Cuarteto Zupay le dio nuevas formas a la Milonga de Jacinto Chiclana.

En este archivo está un poco de Borges, recitado por él mismo. Y confiamos en que nadie se ofenda.

En Septiembre de 1967, AMB Discográfica le grabó una serie de poemas, pero no los publicó todos. En una segunda edición cambió algunos de los de la primera por otros, y en un CD publicado en el 2002 se recogió aquella segunda edición, completándola con algunos poemas que había quedado inéditos.

De ese CD está sacado el ripeo, de manera que faltan varias de las obras de la primera edición y hasta la Milonga de Albornoz, que aparece “anunciada” en la contratapa pero está reemplazada en la grabación por el poema “Laberinto”.

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Contains some of Borges' most well known poetry from his first publications, Luna de enfrente and Cuaderno San Martín, to his later works, El hacedor and El otro, el mismo. Before some of the poems, Borges briefly talks about the motive or the circumstances which inspired him to write it. These introductions give the listener a sense of what it would be like to sit with Borges among the company of his most intimate friends and listen to the "maestro" recite and comment on his poetry. As José Edmundo Clemente comments on the back of the album jacket, "Solamente la voz tiene la frescura del presente. Lo digo porque ningún texto reemplazará la felicidad de oír al propio Borges decir los versos de Borges." (trans: "Only the voice has the freshness of the present. I say this because no text will ever be able to recreate the joy of listening to Borges recite his own poetry."



The Craft of Verse: The Norton Lectures, 1967-68
  1. Introduction
  2. The Riddle of Poetry.mp3
  3. The Metaphor (part 1)
  4. 'The Metaphor' (part 2)
  5. The Telling of the Tale
  6. Word-Music, and Translation
  7. Thought and Poetry (Part 1)
  8. Thought and Poetry (part 2).
  9. A Poet's Creed

"The central fact of my life has been the existence of words and the possibility of weaving those words into poetry."
Jorge Luis Borges, This Craft of Verse

These are the six Norton Lectures that Jorge Luis Borges delivered at Harvard University in the fall of 1967 and spring of 1968. The recordings, only lately discovered in the Harvard University Archives, uniquely capture the cadences, candor, wit, and remarkable erudition of one of the most extraordinary and enduring literary voices of our age. Through a twist of fate that the author of Labyrinths himself would have relished, the lost lectures return to us now in Borges' own voice.

Born in 1899, Borges was by this time almost completely blind (only a single color-- yellow, "the color of the tiger" -- remained for him), and thus addressed his audience without the aid of written notes. Probably the best-read citizen of the globe in his day, he draws on a wealth of examples from literature in modern and medieval English, Spanish, French, Italian, German, Greek, Latin, Arabic, Hebrew, and Chinese, speaking with characteristic eloquence on Plato, the Norse kenningar, Byron, Poe, Chesterton, Joyce, and Frost, as well as on translations of Homer, the Bible, and the Rubaiyat of Omar Khayyam. Though his avowed topic is poetry, Borges explores subjects ranging from prose forms (especially the novel), literary history, and translation theory, to philosophical aspects of literature in particular and communication in general. Throughout, Borges tells the very personal story of his lifelong love affair with the English language and its literature, ancient and modern. In each lecture, he gives us marvelous insights into his literary sensibility, tastes, preoccupations, and beliefs.

Whether discussing metaphor, epic poetry, the origins of verse, poetic meaning, or his own "poetic creed," Borges gives a performance as entertaining as it is intellectually engaging. A lesson in the love of literature and language, this is a sustained personal encounter with a literary voice for whom the twentieth century will be long remembered.

From Library Journal
For Borges (1899-1986), the central fact of life was the existence of words and their potential as building blocks of poetry. In this series of six long-forgotten lectures given at Harvard more than 30 years ago, he insists that reading (in English, primarily) gave him more pleasure than writing. Most of his examples are taken from English-speaking writers, such as Shakespeare, Keats, Byron, Whitman, and Frost. Borges developed a passion for the study of Old English, with its abundant metaphors, harsh beauty, and deep feeling (though not, he admits, for its deep thought). He dislikes the history of literature, which he feels demeans individual works, and he is generally wistful for a future when we are no longer overburdened by history. He champions the primacy of storytelling and prefers the epic to the novel, which he finds "padded." He also argues that one of the great poverties of our time is that we no longer believe in happiness and success and that happy endings seem commercial or staged. Some of his ideas are quirky, but it's still a privilege to have access to one of the most distinctive literary voices of the century. Recommended.DJack Shreve, Allegany Coll. of Maryland, Cumberland


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Jorge Luis Borges in UbuWeb Film


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