A Universal History of Infamy by Jorge Luis Borges, Norman Thomas Di Giovanni

By Jorge Luis Borges, Norman Thomas Di Giovanni

In his writing, Borges continually mixed excessive seriousness with a depraved feel of enjoyable. the following he unearths his enjoy re-creating (or making up) colourful tales from the Orient, the Islamic international, and the Wild West, in addition to his horrified fascination with knife fights, political and private betrayal, and bloodthirsty revenge. glowing with the sheer exuberant excitement of story-telling, this assortment marked the emergence of an completely special literary voice.

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Their favourite weapons were a pair of short swords, used one in each hand. Before seizing another ship, they sprinkled their cheekbones and bodies with an infusion of garlic water, which they considered a certain charm against shot. Each crewman travelled with his wife, but the captain sailed with a harem, which was five or six in number and which, in victory, was always replenished. Kia-king, the Young Emperor, Speaks Somewhere around the middle of , there was made public an imperial decree, of which I transcribe the first and last parts.

The widow came to an understanding. She threw her two short swords into the river, kneeled in the bottom of a small boat, and ordered herself rowed to the imperial flagship. It was dark; the sky was filled with dragons - this time, yellow ones. On climbing aboard, the widow murmured a brief sentence. ‘ The fox seeks the dragon’s wing’, she said. The Apotheosis It is a matter of history that the fox received her pardon and devoted her lingering years to the opium trade. She also left off being the widow, assuming a name which in English means ‘Luster of Instruction’.

Bogle smiled to himself. Now he had a way to flesh out the compliant ghost of Roger Charles. Ad Majorem Dei Gloriam This glad reunion - which seems somehow to belong to a tradition of the classical stage - might well have crowned our story, rendering certain, or at least prob able, the happiness of three parties: the real mother, the spurious son, the successful plotter. Fate (such is the name we give the infinite, ceaseless chain of thousands of intertwined causes) had another end in store. Lady Tichborne died in , and her relatives brought suit against Arthur Orton for false impersonation.

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