Maturity
In the course of a lifetime devoted chiefly to books, I have read but few novels, and, in most cases, only a sense of duty has enabled me to find my way to their last page. At the same time, I have always been a reader and rereader of short stories. Stevenson, Kipling, James, Conrad, Poe, Chesterton, the tales of Lane’s Arabian Nights, and certain stories by Hawthorne have been habits of mine since I can remember. The feeling that great novels like Don Quixote and Huckleberry Finn are virtually shapeless served to reinforce my taste for the short-story form, whose indispensable elements are economy and a clearly stated beginning, middle, and end. As a writer, however, I thought for years that the short story was beyond my powers, and it was only after a long and roundabout series of timid experiments in narration that I sat down to write real stories.
It took me some six years, from 1927 to 1933, to go from that all too self-conscious sketch “Hombres pelearon” to my first outright short story, “Hombre de la esquina rosada” (Streetcorner Man). A friend of mine, don Nicolás Paredes, a former political boss and professional gambler of the Northside, had died, and I wanted to record something of his voice, his anecdotes, and his particular way of telling them. I slaved over my every page, sounding out each sentence and striving to phrase it in his exact tones. We were living out in Adrogué at the time and, because I knew my mother would heartily disapprove of the subject matter, I composed in secret over a period of several months. Originally titled “Hombres de las orillas” (Men from the Edge of Town), the story appeared in the Saturday supplement, which I was editing, of a yellow-press daily called Crítica. But out of shyness, and perhaps a feeling that the story was a bit beneath me, I signed it with a pen name—the name of one of my great-great grandfathers, Francisco Bustos. Although the story became popular to the point of embarrassment (today I only find it stagy and mannered and the characters bogus), I never regarded it as a starting point. It simply stands there as a kind of freak.
The real beginning of my career as a story writer starts with the series of sketches entitled Historia universal de la infamia (A Universal History of Infamy), which I contributed to the columns of Crítica in 1933 and 1934. The irony of this is that “Streetcorner Man” really was a story but that these sketches and several of the fictional pieces which followed them, and which very slowly led me to legitimate stories, were in the nature of hoaxes and pseudo-essays. In my Universal History, I did not want to repeat what Marcel Schwob had done in his Imaginary Lives. He had invented biographies of real men about whom little or nothing is recorded. I, instead, read up on the lives of known persons and then deliberately varied and distorted them according to my own whims. For example, after reading Herbert Asbury’s The Gangs of New York, I set down my free version of Monk Eastman, the Jewish gunman, in flagrant contradiction of my chosen authority. I did the same for Billy the Kid, for John Murrel (whom I rechristened Lazarus Morell), for the Veiled Prophet of Khorassan, for the Tichborne Claimant, and for several others. I never thought of book publication. The pieces were meant for popular consumption in Crítica and were pointedly picturesque. I suppose now the secret value of those sketches— apart from the sheer pleasure the writing gave me—lay in the fact that they were narrative exercises. Since the general plots or circumstances were all given me, I had only to embroider sets of vivid variations.
My next story, “The Approach to al-Mu’tasim,” written in 1935, is both a hoax and a pseudo-essay. It purports to be a review of a book published originally in Bombay three years earlier. I endowed its fake second edition with a real publisher, Victor Gollancz, and a preface by a real writer, Dorothy L. Sayers. But the author and the book are entirely my own invention. I gave the plot and details of some chapters—borrowing from Kipling and working in the twelfth-century Persian mystic Farid ud-Din Attar—and then carefully pointed out its shortcomings. The story appeared the next year in a volume of my essays, Historia de la eternidad (A History of Eternity), buried at the back of the book together with an article on the “Art of Insult.” Those who read “The Approach to al-Mu’tasim” took it at face value, and one of my friends even ordered a copy from London. It was not until 1942 that I openly published it as a short story in my first story collection, El jardín de senderos que se bifurcan (The Garden of Branching Paths). Perhaps I have been unfair to this story; it now seems to me to foreshadow and even to set the pattern for those tales that were somehow awaiting me, and upon which my reputation as a storyteller was to be based.
Along about 1937, I took my first regular full-time job. I had previously worked at small editing tasks. There was the Crítica supplement, which was a heavily and even gaudily illustrated entertainment sheet. There was El Hogar, a popular society weekly, to which, twice a month, I contributed a couple of literary pages on foreign books and authors. I had also written newsreel texts and had been editor of a pseudo-scientific magazine called Urbe, which was really a promotional organ of a privately owned Buenos Aires subway system. These had all been small-paying jobs, and I was long past the age when I should have begun contributing to our household upkeep. Now, through friends, I was given a very minor position as First Assistant in the Miguel Cané branch of the Municipal Library, out in a drab and dreary part of town to the southwest. While there were Second and Third Assistants below me, there were also a Director and First, Second, and Third Officials above me. I was paid two hundred and ten pesos a month and later went up to two hundred and forty. These were sums roughly equivalent to seventy or eighty American dollars.
At the library, we did very little work. There were some fifty of us doing what fifteen could easily have done. My particular job, shared with fifteen or twenty colleagues, was classifying and cataloging the library’s holdings, which until that time were uncatalogued. The collection, however, was so small that we knew where to find the books without the system, so the system, though laboriously carried out, was never needed or used. The first day, I worked honestly. On the next, some of my fellows took me aside to say that I couldn’t do this sort of thing because it showed them up. “Besides,” they argued, “as this cataloging has been planned to give us some semblance of work, you’ll put us out of our jobs.” I told them I had classified four hundred titles instead of their one hundred. “Well, if you keep that up,” they said, “the boss will be angry and won’t know what to do with us.” For the sake of realism, I was told that from then on I should do eighty-three books one day, ninety another, and one hundred and four the third.
I stuck out the library for about nine years. They were nine years of solid unhappiness. At work, the other men were interested in nothing but horse racing, soccer matches, and smutty stories. Once, a woman, one of the readers, was raped on her way to the ladies’ room. Everybody said such things were bound to happen, since the men’s and ladies’ rooms were adjoining. One day, two rather posh and well-meaning friends—society ladies—came to see me at work. They phoned me a day or two later to say, “You may think it amusing to work in a place like that, but promise us you will find at least a nine-hundred-peso job before the month is out.” I gave them my word that I would. Ironically, at the time I was a fairly well-known writer—except at the library. I remember a fellow employee’s once noting in an encyclopedia the name of a certain Jorge Luis Borges—a fact that set him wondering at the coincidence of our identical names and birth dates. Now and then during these years, we municipal workers were rewarded with gifts of a two-pound package of maté to take home. Sometimes in the evening, as I walked the ten blocks to the tramline, my eyes would be filled with tears. These small gifts from above always underlined my menial and dismal existence.
A couple of hours each day, riding back and forth on the tram, I made my way through The Divine Comedy, helped as far as “Purgatory” by John Aitken Carlyle’s prose translation and then ascending the rest of the way on my own. I would do all my library work in the first hour and then steal away to the basement and pass the other five hours in reading or writing. I re
member in this way rereading the six volumes of Gibbon’s Decline and Fall and the many volumes of Vicente Fidel López’ History of the Argentine Republic. I read Léon Bloy, Claudel, Groussac, and Bernard Shaw. On holidays, I translated Faulkner and Virginia Woolf. At some point, I was moved up to the dizzying height of Third Official. One morning, my mother rang me up and I asked for leave to go home, arriving just in time to see my father die. He had undergone a long agony and was very impatient for his death.
It was on Christmas Eve of 1938—the same year my father died—that I had a severe accident. I was running up a stairway and suddenly felt something brush my scalp. I had grazed a freshly painted open casement window. In spite of first-aid treatment, the wound became poisoned, and for a period of a week or so I lay sleepless every night and had hallucinations and high fever. One evening, I lost the power of speech and had to be rushed to the hospital for an immediate operation. Septicemia had set in, and for a month I hovered, all unknowingly, between life and death. (Much later, I was to write about this in my story “The South.”) When I began to recover, I feared for my mental integrity. I remember that my mother wanted to read to me from a book I had just ordered, C. S. Lewis’ Out of the Silent Planet, but for two or three nights I kept putting her off. At last, she prevailed, and after hearing a page or two I fell to crying. My mother asked me why the tears. “I’m crying because I understand,” I said. A bit later, I wondered whether I could ever write again. I had previously written quite a few poems and dozens of short reviews. I thought that if I tried to write a review now and failed, I’d be all through intellectually but that if I tried something I had never really done before and failed at that it wouldn’t be so bad and might even prepare me for the final revelation. I decided I would try to write a story. The result was “Pierre Menard, Author of Don Quixote.”
“Pierre Menard,” like its forerunner “The Approach to al-Mu’tasim,” was still a halfway house between the essay and the true tale. But the achievement spurred me on. I next tried something more ambitious—”TIön, Uqbar, Orbis Tertius,” about the discovery of a new world that finally replaces our present world. Both were published in Victoria Ocampo’s magazine Sur. I kept up my writing at the library. Though my colleagues thought of me as a traitor for not sharing their boisterous fun, I went on with work of my own in the basement, or, when the weather was warm, up on the flat roof. My Kafkian story “The Library of Babel” was meant as a nightmare version or magnification of that municipal library, and certain details in the text have no particular meaning. The numbers of books and shelves that I recorded in the story were literally what I had at my elbow. Clever critics have worried over those ciphers, and generously endowed them with mystic significance. “The Lottery in Babylon,” “Death and the Compass,” and “The Circular Ruins” were also written, in whole or part, while I played truant. These tales and others were to become The Garden of Branching Paths, a book expanded and retitled Ficciones in 1944. Ficciones and El Aleph (1949 and 1952), my second story collection, are, I suppose, my two major books.
In 1946, a president whose name I do not want to remember came into power. One day soon after, I was honored with the news that I had been “promoted” out of the library to the inspectorship of poultry and rabbits in the public markets. I went to the City Hall to find out what it was all about. “Look here,” I said. “It’s rather strange that among so many others at the library I should be singled out as worthy of this new position.” “Well,” the clerk answered, “you were on the side of the Allies—what do you expect?” His statement was unanswerable; the next day, I sent in my resignation. My friends rallied round me at once and offered me a public dinner. I prepared a speech for the occasion but, knowing I was too shy to read it myself, I asked my friend Pedro Henríquez Ureña to read it for me.
I was now out of a job. Several months before, an old English lady had read my tea leaves and had foretold that I was soon to travel, to lecture, and to make vast sums of money thereby. When I told my mother about it, we both laughed, for public speaking was far beyond me. At this juncture, a friend came to the rescue, and I was made a teacher of English literature at the Asociación Argentina de Cultura Inglesa. I was also asked at the same time to lecture on classic American literature at the Colegio Libre de Estudios Superiores. Since this pair of offers was made three months before classes opened, I accepted, feeling quite safe. As the time grew near, however, I grew sicker and sicker. My series of lectures was to be on Hawthorne, Poe, Thoreau, Emerson, Melville, Whitman, Twain, Henry James, and Veblen. I wrote the first one down. But I had no time to write out the second one. Besides, thinking of the first lecture as Doomsday, I felt that only eternity could come after. The first one went off well enough— miraculously. Two nights before the second lecture, I took my mother for a long walk around Adrogué and had her time me as I rehearsed my talk. She said she thought it was overlong. “In that case,” I said, “I’m safe.” My fear had been of running dry. So, at forty-seven, I found a new and exciting life opening up for me. I traveled up and down Argentina and Uruguay, lecturing on Swedenborg, Blake, the Persian and Chinese mystics, Buddhism, gauchesco poetry, Martin Buber, the Kabbalah, the Arabian Nights, T. E. Lawrence, medieval Germanic poetry, the Icelandic sagas, Heine, Dante, expressionism, and Cervantes. I went from town to town, staying overnight in hotels I’d never see again. Sometimes my mother or a friend accompanied me. Not only did I end up making far more money than at the library but I enjoyed the work and felt that it justified me.
One of the chief events of these years—and of my life— was the beginning of my friendship with Adolfo Bioy-Casares. We met in 1930 or 1931, when he was about seventeen and I was just past thirty. It is always taken for granted in these cases that the older man is the master and the younger his disciple. This may have been true at the outset, but several years later, when we began to work together, Bioy was really and secretly the master. He and I attempted many different literary ventures. We compiled anthologies of Argentine poetry, tales of the fantastic, and detective stories; we wrote articles and forewords; we annotated Sir Thomas Browne and Gracián; we translated short stories by writers like Beerbohm, Kipling, Wells, and Lord Dunsany; we founded a magazine, Destiempo, which lasted three issues; we wrote film scripts, which were invariably rejected. Opposing my taste for the pathetic, the sententious, and the baroque, Bioy made me feel that quietness and restraint are more desirable. If I may be allowed a sweeping statement, Bioy led me gradually toward classicism.
It was at some point in the early forties that we began writing in collaboration—a feat that up to that time I had thought impossible. I had invented what we thought was a quite good plot for a detective story. One rainy morning, he told me we ought to give it a try. I reluctantly agreed, and a little later that same morning the thing happened. A third man, Honorio Bustos Domecq, emerged and took over. In the long run, he ruled us with a rod of iron and to our amusement, and later to our dismay, he became utterly unlike ourselves, with his own whims, his own puns, and his own very elaborate style of writing. Domecq was the name of a great-grandfather of Bioy’s and Bustos of a great-grandfather of mine from Córdoba. Bustos Domecq’s first book was Six Problems for don Isidro Parodi (1942), and during the writing of that volume he never got out of hand. Max Carrados had attempted a blind detective; Bioy and I went one step further and confined our detective to a jail cell. The book was at the same time a satire on the Argentine. For many years, the dual identity of Bustos Domecq was never revealed. When finally it was, people thought that, as Bustos was a joke, his writing could hardly be taken seriously.
Our next collaboration was another detective novel, A Model for Death. This one was so personal and so full of private jokes that we published it only in an edition that was not for sale. The author of this book we named B. Suárez Lynch. The “B.” stood, I think, for Bioy and Borges, “Suárez” for another great-grandfather of mine, and Lynch for another great-grandfather of Bioy’s. Bustos Domecq reappear
ed in 1946 in another private edition, this time of two stories, entitled Two Memorable Fantasies. After a long eclipse, Bustos took up his pen again, and in 1967 brought out his Chronicles. These are articles written on imaginary, extravagantly modern artists—architects, sculptors, painters, chefs, poets, novelists, couturiers—by a devotedly modern critic. But both the author and his subjects are fools, and it is hard to tell who is taking in whom. The book is inscribed, “To those three forgotten greats— Picasso, Joyce, Le Corbusier.” The style is itself a parody. Bustos writes a literary journalese, abounding in neologisms, a Latinate vocabulary, clichés, mixed metaphors, non sequiturs, and bombast.
I have often been asked how collaboration is possible. I think it requires a joint abandoning of the ego, of vanity, and maybe of common politeness. The collaborators should forget themselves and think only in terms of the work. In fact, when somebody wants to know whether such-and-such a joke or epithet came from my side of the table or Bioy’s, I honestly cannot tell him. I have tried to collaborate with other friends—some of them very close ones—but their inability to be blunt on the one hand or thick-skinned on the other has made the scheme impossible. As to the Chronicles of Bustos Domecq, I think they are better than anything I have published under my own name and nearly as good as anything Bioy has written on his own.
In 1950, I was elected President of the Sociedad Argentina de Escritores (Argentine Society of Writers). The Argentine Republic, then as now, is a soft country, and the S.A.D.E. was one of the few strongholds against the dictatorship. This was so evident that many distinguished men of letters did not dare set foot inside its doors until after the revolution. One curious trait of the dictatorship was that even its professed upholders made it clear that they did not really take the government seriously but were acting out of self-interest. This was understood and forgiven, since most of my countrymen have an intellectual, if not a moral, conscience. Nearly all the smutty jokes made up about Perón and his wife were the invention of Peronistas themselves, trying to save face. The S.A.D.E. was eventually closed. I remember the last lecture I was allowed to give there. The audience, quite a small one, included a very puzzled policeman who did his clumsy best to set down a few of my remarks on Persian Sufism. During this drab and hopeless period, my mother—then in her seventies—was under house arrest. My sister and one of my nephews spent a month in jail. I myself had a detective on my heels, whom I first took on long, aimless walks and at last made friends with. He admitted that he too hated Perón, but said that he was obeying orders. Ernesto Palacio once offered to introduce me to the Unspeakable, but I did not want to meet him. How could I be introduced to a man whose hand I would not shake?
Collected Stories Page 17