Short Stories of Jorge Luis Borges - The Giovanni Translations (16 page)

We went to Majorca because it was cheap, beautiful, and had hardly any tourists but ourselves. We lived there nearly a whole year, in Palma and in Valldemosa, a village high up in the hills. I went on studying Latin, this time under the tutelage of a priest, who told me that since the innate was sufficient to his needs, he had never attempted reading a novel. We went over Virgil, of whom I still think highly. I remember I astonished the natives by my fine swimming, for I had learned in swift rivers, such as the Uruguay and the Rhone, while Majorcans were used only to a quiet, tideless sea. My father was writing his novel, which harked back to old times during the civil war of the 1870’s in his native Entre Ríos. I recall giving him some quite bad metaphors, borrowed from the German expressionists, which he accepted out of resignation. He had some five hundred copies of the book printed, and brought them back to Buenos Aires, where he gave them away to friends. Every time the word “Paraná”—his home town—had come up in the manuscript, the printers changed it to “Panamá,” thinking they were correcting a mistake. Not to give them trouble, and also seeing it was funnier that way, my father let this pass. Now I repent my youthful intrusions into his book. Seventeen years later, before he died, he told me that he would very much like me to rewrite the novel in a straightforward way, with all the fine writing and purple patches left out. I myself in those days wrote a story about a werewolf and sent it to a popular magazine in Madrid,
La Esfera
, whose editors very wisely turned it down.

The winter of 1919-20 we spent in Seville, where I saw my first poem into print. It was titled “Hymn to the Sea” and appeared in the magazine
Grecia
, in its issue of December 31, 1919.

In the poem, I tried my hardest to be Walt Whitman:

O sea! O myth! O sun! O wide resting place!

I know why 1 love you. I know that we are both very old,

that we have known each other for centuries. . . .

O Protean, I have been born of you—

both of us chained and wandering, both of us hungering for stars,

both of us with hopes and disappointments. . . !

Today, I hardly think of the sea, or even of myself, as hungering for stars. Years after, when I came across Arnold Bennett’s phrase “the third-rate grandiose,” I understood at once what he meant. And yet when I arrived in Madrid a few months later, as this was the only poem I had ever printed, people there thought of me as a singer of the sea.

In Seville, I fell in with the literary group formed around
Grecia
. This group, who called themselves ultraists, had set
out to renew literature, a branch of the arts of which they knew nothing whatever. One of them once told me his whole reading had been the Bible, Cervantes, Darío, and one or two of the books of the Master, Rafael Cansinos-Assens. It baffled my Argentine mind to learn that they had no French and no inkling at all that such a thing as English literature existed. I was even introduced to a local worthy popularly known as “the Humanist” and was not long in discovering that his Latin was far smaller than mine. As for
Grecia
itself, the editor, Isaac del Vando Villar, had the whole corpus of his poetry written for him by one or another of his assistants. I remember one of them telling me one day, “I’m very busy—Isaac is writing a poem.”

Next, we went to Madrid, and there the great event to me was my friendship with Rafael Cansinos-Assens. I still like to think of myself as his disciple. He had come from Seville, where he had studied for the priesthood, but, having found the name Cansinos in the archives of the Inquisition, he decided he was a Jew. This led him to the study of Hebrew, and later on he even had himself circumcised. Literary friends from Andalusia took me to meet him. I timidly congratulated him on a poem
he
had written about the sea. “Yes,” he said, “and how I’d like to see it before I die.” He was a tall man with the Andalusian contempt for all things Castilian. The most remarkable fact about Cansinos was that he lived completely for literature, without regard for money or fame. He was a fine poet and wrote a book of psalms—chiefly erotic—called
El candelabro de los siete brazos
, which was published in 1914. He also wrote novels, stories, and essays, and, when I knew him, presided over a literary circle.

Every Saturday I would go to the Café Colonial, where we met at midnight, and the conversation lasted until daybreak. Sometimes there were as many as twenty or thirty of us. The group despised all Spanish local color—
cante jongo
and bullfights. They admired American jazz, and were more interested in being Europeans than Spaniards. Cansinos would propose a subject—The Metaphor, Free Verse, The Traditional Forms of Poetry, Narrative Poetry, The Adjective, The Verb. In his own quiet way, he was a dictator, allowing no unfriendly allusions to contemporary writers and trying to keep the talk on a high plane.

Cansinos was a wide reader. He had translated De Quincey’s
Opium-Eater
, the
Meditations of Marcus Aurelius
from the Greek, novels of Barbusse, and Schwob’s
Vies imaginaires
.

Later, he was to undertake complete translations of Goethe and Dostoevski. He also made the first Spanish version of the Arabian Nights, which is very free compared to Burton’s or Lane’s, but which makes, I think, for more pleasurable reading. Once, I went to see him and he took me into his library. Or, rather, I should say his whole house was a library. It was like making your way through a woods. He was too poor to have shelves, and the books were piled one on top of the other from floor to ceiling, forcing you to thread your way among the vertical columns. Cansinos seemed to me as if he were all the past of that Europe I was leaving behind—something like the symbol of all culture, Western and Eastern. But he had a perversity that made him fail to get on with his leading contemporaries. It lay in writing books that lavishly praised second or third-rate writers. At the time, Ortega y Gasset was at the height of his fame, but Cansinos thought of him as a bad philosopher and a bad writer. What I got from him, chiefly, was the pleasure of literary conversation. Also, I was stimulated by him to far-flung reading. In writing, I began aping him. He wrote long and flowing sentences with an un-Spanish and strongly Hebrew flavor to them.

Oddly, it was Cansinos who, in 1919, invented the term “ultraism.” He thought Spanish literature had always been behind the times. Under the pen name of Juan Las, he wrote some short, laconic ultraist pieces. The whole thing—I see now—was done in a spirit of mockery. But we youngsters took it very seriously. Another of the earnest followers was Guillermo de Torre, whom I met in Madrid that spring and who married my sister Norah nine years later.

In Madrid at this time, there was another group gathered around Ramón Gómez de la Serna. I went there once and didn’t like the way they behaved. They had a buffoon who wore a bracelet with a rattle attached. He would be made to shake hands with people and the rattle would rattle and Gómez de la Serna would invariably say, “Where’s the snake?” That was supposed to be funny. Once, he turned to me proudly and remarked, “You’ve never seen this kind of thing in Buenos Aires, have you?” I owned, thank God, that I hadn’t.

In Spain, I wrote two books. One was a series of essays called, I now wonder why,
Los naipes del tahur
(The Sharper’s Cards). They were literary and political essays (I was still an anarchist and a freethinker and in favor of pacifism), written under the influence of Pío Baroja. Their aim was to be bitter and relentless, but they were, as a matter of fact, quite tame. I went in for using such words as “fools,” “harlots,” “liars.” Failing to find a publisher, I destroyed the manuscript on my return to Buenos Aires. The second book was titled either
The Red Psalms
or
The Red Rhythms
. It was a collection of poems—perhaps some twenty in all—in free verse and in praise of the Russian Revolution, the brotherhood of man, and pacifism. Three or four of them found their way into magazines—“Bolshevik Epic,” “Trenches,” “Russia.” This book I destroyed in Spain on the eve of our departure. I was then ready to go home. 

Buenos Aires
 

We returned to Buenos Aires on the
Reina Victoria Eugenia
toward the end of March, 1921. It came to me as a surprise, after living in so many European cities—after so many memories of Geneva, Zurich, Nîmes, Córdoba, and Lisbon—to find that my native town had grown, and that it was now a very large, sprawling, and almost endless city of low buildings with flat roofs, stretching west toward what geographers and literary hands call the pampa. It was more than a homecoming; it was a rediscovery. I was able to see Buenos Aires keenly and eagerly because I had been away from it for a long time. Had I never gone abroad, I wonder whether I would ever have seen it with the peculiar shock and glow that it now gave me. The city—not the whole city, of course, but a few places in it that became emotionally significant to me—inspired the poems of my first published book,
Fervor de Buenos Aires
.

I wrote these poems in 1921 and 1922, and the volume came out early in 1923. The book was actually printed in five days; the printing had to be rushed, because it was necessary for us to return to Europe. (My father wanted to consult his Genevan doctor about his sight.) I had bargained for sixty-four pages, but the manuscript ran too long and at the last minute five poems had to be left out—mercifully. I can’t remember a single thing about them. The book was produced in a somewhat boyish spirit. No proofreading was done, no table of contents was provided, and the pages were unnumbered. My sister made a woodcut for the cover, and three hundred copies were printed. In those days, publishing a book was something of a private venture. I never thought of sending copies to the booksellers or out for review. Most of them I just gave away. I recall one of my methods of distribution. Having noticed that many people who went to the offices of
Nosotros
—one of the older, more solid literary magazines of the time—left their overcoats hanging in the cloak room, I brought fifty or a hundred copies to Alfredo Bianchi, one of the editors. Bianchi stared at me in amazement and said, “Do you expect me to sell these books for you?”

“No,” I answered. “Although I’ve written them, I’m not altogether a lunatic. I thought I might ask you to slip some of these books into the pockets of those coats hanging out there.” He generously did so. When I came back after a year’s absence, I found that some of the inhabitants of the overcoats had read my poems, and a few had even written about them. As a matter of fact, in this way I got myself a small reputation as a poet.

The book was essentially romantic, though it was written in a rather lean style and abounded in laconic metaphors. It celebrated sunsets, solitary places, and unfamiliar corners; it ventured into Berkeleyan metaphysics and family history; it recorded early loves. At the same time, I also mimicked the Spanish seventeenth century and cited Sir Thomas Browne’s
Religio Medici
in my preface. I’m afraid the book was a plum pudding—there was just too much in it. And yet, looking back on it now, I think I have never strayed beyond that book. I feel that all my subsequent writing has only developed themes first taken up there; I feel that all during my lifetime I have been rewriting that one book.

Were the poems in
Fervor de Buenos Aires
ultraist poetry? When I came back from Europe in 1921, I came bearing the banners of ultraism. I am still known to literary historians as “the father of Argentine ultraism.” When I talked things over at the time with fellow-poets Eduardo González Lanuza, Norah Lange, Francisco Piñero, my cousin Guillermo Juan (Borges), and Roberto Ortelli, we came to the conclusion that Spanish ultraism was overburdened— after the manner of futurism—with modernity and gadgets. We were unimpressed by railway trains, by propellers, by airplanes, and by electric fans. While in our manifestos we still upheld the primacy of the metaphor and the elimination of transitions and decorative adjectives, what we wanted to write was essential poetry—poems beyond the here and now, free of local color and contemporary circumstances. I think the poem “Plainness” sufficiently illustrates what I personally was after:

The garden’s grillwork gate opens with the ease of a page in a much thumbed book, and, once inside, our eyes have no need to dwell on objects already fixed and exact in memory. Here habits and minds and the private language all families invent are everyday things to me.What necessity is there to speak or pretend to be someone else? The whole house knows me, they’re aware of my worries and weakness. This is the best that can happen—what Heaven perhaps will grant us: not to be wondered at or required to succeed but simply to be let in as part of an undeniable Reality, like stones of the road, like trees.

I think this is a far cry from the timid extravagances of my earlier Spanish ultraist exercises, when I saw a trolley car as a man shouldering a gun, or the sunrise as a shout, or the setting sun as being crucified in the west. A sane friend to whom I later recited such absurdities remarked, “Ah, I see you held the view that poetry’s chief aim is to startle.” As to whether the poems in
Fervor
are ultraist or not, the answer—for me—was given by my friend and French translator Néstor Ibarra, who said, “Borges left off being an ultraist poet with the first ultraist poem he wrote.” I can now only regret my early ultraist excesses. After nearly a half century, I find myself still striving to live down that awkward period of my life.