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Perhaps the apparent favor of the universe is no more than the crocodile grin of a Doberman breathing hard and about to be hungry?

Jorge Luis Borges

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Jorge Luis Borges
Age: 86 †
Born: 1899
Born: August 24
Died: 1986
Died: March 26
Librarian
Literary Critic
Poet
Screenwriter
Translator
Writer
Buenos Ayres
Jorge Francisco Isidoro Luis Borges
Chorche Louis Borches
Jorge Luis Borges Acevedo
Horhe Luis Borhes
J. L. Borges
H. Bustos Domecq
Khorkhe Luyis Borkhes
Borges
Jorge Francisco Isidoro Luis Borges Acevedo
Hard
Grin
Apparent
Favor
Favors
Breathing
Hungry
Dobermans
Perhaps
Crocodile
Universe
Crocodiles

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Imprecision is tolerable and verisimilar in literature, because we always tend towards it in life.
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Lully's machine, Mill's fear and Lasswitz's chaotic library can be the subject of jokes, but they exaggerate a propensity which is common: making metaphysics and the arts into a kind of play with combinations.
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Time broadens the scope of verses and I know of some which, like music, are everything for all men.
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Your unforgivable sins do not allow you to see my splendor.
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Writing is only a guided dream.
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Everything touches everything.
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Kafka had the sense of guilt. I don't think I have because I don't believe in free will. Because what I have done has been done, well, for me or through me. But I haven't done it really. But I don't believe in free will, I can't feel guilty.
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I am not sure of anything, I know nothing . . . can you imagine that I don't even know the date of my own death?
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Yo, que me figuraba el Paraíso / Bajo la especie de una biblioteca. I have always imagined Paradise as a kind of library.
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Every writer creates his own precursors. His work modifies our conception of the past, as it will modify the future.
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The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it.
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We (the indivisible divinity that works in us) have dreamed the world. We have dreamed it resistant, mysterious, visible, ubiquitous in space and firm in time, but we have allowed slight, and eternal, bits of the irrational to form part of its architecture so as to know that it is false.
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I...have always known that my destiny was, above all, a literary destiny — that bad things and some good things would happen to me, but that, in the long run, all of it would be converted into words. Particularly the bad things, since happiness does not need to be transformed: happiness is its own end.
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In vain have oceans been squandered on you, in vain the sun, wonderfully seen through Whitman’s eyes. You have used up the years and they have used up you, and still, and still, you have not written the poem.
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Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment's objectivity or the individual's psychic history. Guided by the latter, art is redeemed, makes the world into its instrument, and forges, beyond spatial and temporal prisons, a personal vision.
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What man of us has never felt, walking through the twilight or writing down a date from his past, that he has lost something infinite?
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In truth, the Library includes all verbal structures, all variations permitted by the twenty-five orthographical symbols, but not a single example of absolute nonsense.
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Art always opts for the individual, the concrete art is not Platonic.
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Soccer is popular because stupidity is popular.
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The visible universe was an illusion or, more precisely, a sophism. Mirrors and fatherhood are abominable because they multiply it and extend it.
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