A Quote by Caterina Fake

I was an eccentric teenager in suburban New Jersey, in a town mostly interested in sports, popularity, and clothes. A fan of Jorge Luis Borges, I found a group of Borges scholars from Aarhus, Denmark - perfect strangers - whom I connected to online and immediately became enthralled by the idea of virtual communities.
I first got online in the late '80s when I was an eccentric teenager in suburban New Jersey, in a town mostly interested in sports, popularity, and clothes. I was a reader, into Jorge Luis Borges, and I found, connected to, and delighted in a group of Borges scholars from Aarhus, Denmark, that I met online.
One of my favorite writers is short story writer/essayist Jorge Luis Borges, who was blind. I'm not claiming to be anything remotely resembling a talent of Borges' caliber, but he is an inspiration and a proof that one can be a meaningful and successful writer while blind.
My biggest superhero of writing is Jorge Luis Borges, the Argentine fabulist. He's an amazingly perceptive writer, but also willing to make a joke.
Those of us who thought Jorge Luis Borges was a pioneer of magical realism were mistaken; he was a pioneer of science fiction.
Jorge Luis Borges was lamenting a variety of Orientalism that was used to measure the alleged authenticity of Argentine and Latin American writers in the midcentury. The Argentine literary tradition was believed by many, including many Argentines, to be concerned with a national imaginary in which the gauchos and the pampas and the tango were fundamental tropes. Borges, in part to legitimize his own Europhilia, correctly pointed out that expecting writers to engage with these romantic nationalist tropes was arbitrary and limiting, a genre that was demonstrative of its own artificiality.
I would say that Edgar Allan Poe, [Georges] Perec, Thomas Pynchon, and [Jorge Luis] Borges are all boy-writers. These are writers who take... a kind of demonic joy in writing.
As 'Possession' progresses, it seems less and less like the usual satire about academia and more like something by Jorge Luis Borges.
[Jorge Luis Borges] had short stories, and I was trying to learn how to write short stories, and then he had these things in the middle that were like fables, and I loved hearing fables.
Jorge Luis Borges wrote a poem when he was in his 80s about one day writing the book that would justify him. This was long after he had become one of the great masters, a writer everyone looks up to and reveres. As artists, I don't think we ever see ourselves as done. We always think we're at the beginning . . .
There [DreamTigers by Jorge Luis Borges] were these little fablesque things, you know, dream tigers, beautiful, beautiful pieces that when you read them had the power of a long piece, but they were prose, and they had the power of poetry, in that the last line wasn't the end, it was a reverberation, like when you tap on a glass made of crystal, and it goes ping.
Jorge Luis Borges had the soapbox and the authority to complain about this myopic understanding of the duty of Latin American writers, which sometimes forecloses their unique modernism and experience of modernization in favor of a mythic past or an artificially constructed ideal national subject. So likewise in João Gilberto Noll, readers shouldn't expect samba and Carnival and football. The Brazilian national identity is not one of his primary concerns.
I always read the Latin American writers. I love so many of them: Gabriel García Márquez, José Donoso, Alejo Carpentier, Jorge Luis Borges, Clarice Lispector. I also love a lot of American experimental writers and surrealist European writers. But perhaps The Persian Book of Kings was the greatest influence - I encourage people to look at it. There is such a wealth of incredible stories.
I remember I was very taken with a book called DreamTigers by [Jorge Luis] Borges. He was at the University of Texas, Austin, and they collected some of his writings and put them in a little collection. It's called DreamTigers in English, but it doesn't exist in Spanish. It's a little sampler. But that collection in English is what struck me, because in there he has his poems, and I was a poet as well as a fiction writer.
To think, analyze and invent, he [Pierre Menard] also wrote me, “are not anomalous acts, but the normal respiration of the intelligence. To glorify the occasional fulfillment of this function, to treasure ancient thoughts of others, to remember with incredulous amazement that the doctor universal is thought, is to confess our languor or barbarism. Every man should be capable of all ideas, and I believe that in the future he will be." (Jorge Luis Borges, "Pierre Menard, Author of Don Quixote, 1939)
We have inhabited both the actual and the imaginary realms for a long time. But we don't live in either place the way our parents or ancestors did. Enchantment alters with age, and with the age. We know a dozen Arthurs now, all of them true. The Shire changed irrevocably even in Bilbo's lifetime. Don Quixote went riding out to Argentina and met Jorge Luis Borges there. Plus c'est la même chose, plus ça change.
We are all living in a techno-dystopian fantasy, the Internet-connected portals we rely on rendering the world in all its granular detail and absurdity like Borges's 'Aleph.'
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