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.: Literary Essay by Liliana Diaz Mindurry
"The Circular Ruins" Borges: endless textuality or fictionality of the world
The idea of circularity (out of a road and come back for another starting point) and the vestigial (ruin) bind to the classic image of the dream of all the work Borges, heir to Shakespeare, Calderón, Lewis Carroll, Giovanni Papini and bias via the Gnostic tradition and idealism of Berkeley where the notion of being connected with perception. Cortázar with vague boundaries between the worlds (style "Continuity of Parks") is its closest school student illusory. Not surprisingly, the dream is made of traces (ruins) diurnal and usually circular themes (obsessive).
image demiurge gnostic angels or inept (also the mirrors facing increasingly deforming), or the Red King (Carroll) that if he wakes up getting fired as Alice out "thing of dreams ", together with that of a Knight Sick (Papini) who does not know how to make your return to the waking dreamer (or staying asleep), is recurrent in Borges. Be just a trace (ruin) stored on the night of another may share the same fate and ad infinitum, is the box and uroboros China (circularity). Uroboros evokes the primordial serpent.
know that the circle is perfect emblem of infinity that Borges is corrupting and foolish notion. Fatal and paradoxically evokes the notion is bound to shelter, care (with relief, with humiliation, with terror). For some the rings talismáticas, bracelets, lanyards defensive, the Wizards healing circles. Relieves
knowing someone else's dream, but it's humiliating. No concept is unambiguous and fire (whose flames caressed him and flooded him without heat or combustion), unless either: purifies and devours. (Bring the memory of Heraclitus' concept: a world that is born and ends in the fire.) The circle, besides being the form of "trace" of the temple, is how the story (which takes up the same theme and suggests infinity).
multiple creative thinking where creating weakens and degenerates, and the idea of creator demiurge or wizard was the way the Gnostics accepted the ugliness carnal world, incompatible with the perfection of the First Cause, which became distant. The Golem of the Kabbalist, novelizations by Meyrink, narrated by Scholem also (once the words are pronounced the name) takes on a life of remarkable alleged imperfections. (In the hour of distress and vague light / in your eyes stopped Golem / Who will tell us things that felt / God, looking at his rabbi in Prague?). Similarly the ideas of science fiction (fictional fewer) of the robotic world.
The topic of sleep, so dear to Borges, becoming more unreal "reality" rather afantasmada (we dreamed the world. We have dreamed resistant, mysterious, visible, ubiquitous in space and firm in time, but have consented to its architecture tenuous and eternal crevices of unreason to know is false). Appears in "Waiting" and almost all his work: tapping the anxiety of blur, the nightmare (an attribute of the infernal is unreality, says in "Emma Zunz") plays a role clearly disintegrating, suitable for drills, In this case simulation of Creation.
Borges's prose deliberately looking for the remote and peculiar wavering dream architectures (In the background are the dreams of sleep.) As in "Continuity of Parks" Cortazar's no limit supposedly true between real and fictional, is flexible and gray, a "continuous." The world is apariencial, everything is dreamed of (literary). If we are to see any foreign and tell a story we can conclude that latent in both stories is no appearance (appearance of being the "son" of the magician, appearance of being the magician, suggesting new possibilities of appearance).
In short, the look of Borges never fails to be ironic, that is skeptical of any possibility of knowledge (philosophy is a branch of fantastic literature, has written stories for something with the subject of his essays). Ergo, purely literary knowledge (everything is literature). It is an unknown universe: the exact words the thought of looseness, those worlds that spin the oxymoron. Knowledge is impossible to the excess (or horror) of the infinite. The night is just unanimous, well understood and ignorance. The demiurge came from the South, rather Borgesian vaguely primitive and infamous (also of courage). This is a magician (which is considered inferior theologies, manifestation of deception, close to the primary of eros and violence and away from the sacred experience) and thus, the artist, the writer, this imagery is mocking, a sorcerer, quasi-ghost for a purpose that is not his poor range. *** 
See this story a picture of literary creation is probably a redundancy. Write to the night's unanimous blank page and the "dream" (the unconscious), produce significant multiple births demiurges (literary influences). Even the game buzzing of birth Borges "The Circular Ruins" the "Review of the Work of Herbert Quain. Speaks of the difficulty of creating (much more difficult than weaving a rope of sand or coining the faceless wind.) Even the need for a space that does not distract for writing (a minimum of world visible) and even the draft (pages unknown). Perhaps unintentionally approaches Proust theories about involuntary memory as suitable mobile or psychoanalytic (found another method of work (...) abandoned any premeditation of dreaming). Call creative writing with humor, purpose (...) supernatural. Condemns
creations and choose autistic group made an order of intertextualities or influences. See a continuing ground of literature forming an infinite library (the universe).
In that respect it differs from the operator still - "Funes the memory" - that copy in the manner of Pierre Menard. Each demiurge alternates with his new "son" may be weaker than the background. (In "Kafka and His Precursors" implies the idea of the child who believes his parents, who read it differently to their predecessors). In short, the building is a remnant (ruin) it is not without returning to the top (circular).
And if everything is any discourse is literary literature and so is the gnostic cosmology (theology or metaphysics), or look in Berkeley in the seventeenth century. Thus any "reality" becomes "fiction" (Cortazar and "Continuity of Parks"). Reality is language as Wittgenstein observed.
The creative fire, the fire god temple in ruins pretend to light up the night with the old idea of order out of chaos, when in truth it reveals. Ruined temple that devours previous literary works in a new Dionysian dismemberment. In the morning, the work is finished and is also the death of the demiurge, creator magician he was a mere link in the chain called endless textuality.
LILIANA DIAZ Diaz Mindurry
Mindurry, Liliana
A look at works and autors / Mindurry Liliana Diaz, literary publishing by Patricia Bence Castilla. - 1st ed. - Buenos Aires: Circular Ruins, 2010. 80 p.
, 20x14 cm. - (Octahedron / Liliana Diaz Mindurry) ISBN 978-987-1610-09-9
1. Literary Essay. I. Bence Castilla, Patricia, ed. lit. II. Title
CDD A864
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