Tlön, Uqbar, Orbis Tertius

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Jorge Luis Borges' short story has been widely translated. Here is the cover of a 1983 English edition designed by Rikki Ducornet.
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Jorge Luis Borges' short story has been widely translated. Here is the cover of a 1983 English edition designed by Rikki Ducornet.

"Tlön, Uqbar, Orbis Tertius" is a short story by the 20th century Argentine writer Jorge Luis Borges. The story was first published in the Argentine journal Sur, May 1940. The "postscript" dated 1947 is intended to be anachronistic, set seven years in the future. The first English-language translation of the story was published in 1961.

In the story, an encyclopedia article about a mysterious country called Uqbar is the first indication of Orbis Tertius, a massive conspiracy of intellectuals to imagine (and thereby create) a world: Tlön. Relatively long for Borges (approximately 5600 words), the story is a work of speculative fiction. One of the major themes of "Tlön, Uqbar, Orbis Tertius" is that ideas ultimately manifest themselves in the physical world and the story is generally viewed as a parabolic discussion of Berkeleian idealism — and to some degree as a protest against totalitarianism.

"Tlön, Uqbar..." has the structure of a detective fiction set in a world going mad. Although the story is quite short, it makes allusions to many leading intellectual figures both in Argentina and in the world at large, and takes up a number of themes more typical of a novel of ideas. Most of the ideas engaged are in the areas of language, epistemology, and literary criticism.

Contents

[edit] Summary of the story

In the following summary, statements refer to the world within the story, not to the real world. Consequently, historical personages may have actions attributed to them that they did not take in the real world. Their real-world aspects are discussed in the following section.

In "Tlön, Uqbar, Orbis Tertius", an encyclopedia article about a mysterious country called Uqbar is the first indication of Orbis Tertius, a massive conspiracy of intellectuals to imagine (and thereby create) a world: Tlön. In the course of the story, the narrator encounters increasingly substantive artifacts of Orbis Tertius and of Tlön; by the end of the story, Earth is becoming Tlön.

The story unfolds as a first-person narrative by a fictive version of Borges himself. Events and facts are revealed roughly in the order that the narrator becomes aware of them, or becomes aware of their relevance. The bulk of the story is from the point of view of 1940, the year the story was written and published. A postscript is from the point of view of the same narrator, anachronistically writing in 1947. The timing of events in Borges's first-person story is approximately from 1935 to 1947; the plot concerns events going back as far as the early 17th century and culminating in 1947.

In the story, Uqbar initially appears to be an obscure region of Iraq or of Asia Minor. In casual conversation with Borges, Bioy Casares recalls that a heresiarch (leader of a heretical sect) in Uqbar had declared that "mirrors and copulation are abominable, since they both multiply the numbers of men." Borges, impressed with the "memorable" sentence, asks for its source. Bioy Casares refers him to an encyclopedia article on Uqbar in the Anglo-American Cyclopedia, described as "a literal if inadequate reprint of the Encyclopædia Britannica of 1902."[1] It emerges that Uqbar is mentioned only in the closing pages of a single volume of the Anglo-American Cyclopedia, and that the pages describing Uqbar appear in some copies of the work, but not in others.

Borges, the narrator, is led through a bibliographical maze attempting to verify the reality or unreality of Uqbar. He is particularly drawn to a statement in the encyclopedia article that "…the literature of Uqbar… never referred to reality, but to the two imaginary regions of Mlejnas and Tlön."[2]

A brief and naturalistic aside about Borges's father's friend Herbert Ashe leads to the story of Borges inheriting a much more substantial related artifact (one of several increasingly substantial and surprising artifacts that are to appear in the course of the story): the apparent eleventh volume of an encyclopedia devoted to Tlön. The volume has, in two places, "a blue oval stamp with the inscription: Orbis Tertius." [3]

At this point, the story of Tlön, Uqbar, and Orbis Tertius expands beyond the circle of Borges and his immediate friends and acquaintances, as scholars such as Néstor Ibarra discuss whether this volume could have been written in isolation or whether it necessarily implies the existence of a complete encyclopedia about Tlön. The proposal emerges to attempt to reconstruct the entire history, culture, and even languages of that world.

This leads to an extended discussion of the languages, the philosophy and, in particular, the epistemology of Tlön, which forms the central focus of the story. Appropriately, the people of the multiply imaginary Tlön — a fictional construct within a fictional story — hold an extreme form of Berkeleian idealism, denying the reality of the world. Their world is understood "not as a concurrence of objects in space, but as a heterogeneous series of independent acts." [4] One of the imagined languages of Tlön lacks nouns. Its central units are "impersonal verbs qualified by monosyllabic suffixes or prefixes which have the force of adverbs." Borges offers us, for what would be our own "The moon rose above the water" a Tlönic equivalent: hlör u fang axaxaxas mlö, meaning literally "Upward behind the onstreaming it mooned." (Andrew Hurley, one of Borges's translators, wrote a fiction in which he says that the words "axaxaxas mlö" "can only be pronounced as the author's cruel, mocking laughter".[5]) In another language of Tlön, "the basic unit is not the verb, but the monosyllabic adjective," which, in combinations of two or more, are noun-forming: "moon" becomes "airy-clear over dark-round" or "orange-faint-of-sky." [6]

In a world where there are no nouns — or where nouns are composites of other parts of speech, created and discarded according to a whim — and no things, most of Western philosophy becomes impossible. Without nouns about which to state propositions, there can be no a priori deductive reasoning from first principles. Without history, there can be no teleology (showing a divine purpose playing itself out in the world). If there can be no such thing as observing the same object at different times[7] there is no possibility of a posteriori inductive reasoning (generalizing from experience). Ontology — the philosophy of what it means to be — is an alien concept. Tlön is a world of Berkeleian idealism with one critical omission: it lacks the omnipresent, perceiving deity on whom Berkeley relied as a point of view demanding an internally consistent world. This infinitely mutable world is tempting to a playful intellect, and its "transparent tigers and ... towers of blood"[8] appeal to baser minds, but a Tlönic world view requires denying most of what would normally be considered common sense reality.

In the anachronistic postscript, the narrator and the world have learned, through the emergence of a letter, that Uqbar and Tlön are invented places, the work of a "benevolent secret society"[9] conceived in the early 17th century, and numbering Berkeley among its members. (Although the society is part of Borges's fiction, Berkeley and other named members are real historical figures.) The narrator learns that as the society's work began, it became clear that a single generation wasn't sufficient to articulate the entire country of Uqbar. Each master therefore agreed to elect a disciple who would carry on his work and also perpetuate this hereditary arrangement. However, there was no further trace of this society until, two centuries later, one of its disciples was the fictional Ezra Buckley. Buckley was an eccentric Memphis, Tennessee millionaire who scoffed at the modest scale of the sect's undertaking. He proposed instead the invention of a planet, Tlön, with certain provisos: that the project be kept secret, that an encyclopedia of the imaginary planet of Tlön be written, and that the whole scheme "have no truck with that impostor Jesus Christ"[10] (and therefore none with Berkeley's God). The date of Buckley's involvement is 1824. In the early 1940s — still in the future at the time Borges wrote the story — the Tlönic project has ceased to be a secret, and is beginning to disseminate its own universe. Beginning "about 1942", in what at first appears a magical turn, objects from Tlön begin to appear in the real world. While we are later led to see them as forgeries, they still must be the projects of a secret science and technology. Once the full, forty-volume First Encyclopaedia of Tlön is found in Memphis, the idea of Tlön begins unstoppably to take over and eradicate the existing cultures of the real world.

(As an aside, the eleventh volume of this full encyclopedia is not quite the same as the earlier, isolated eleventh volume: it lacks such "improbable features" as "the multiplying of the hrönir." "It is probable," writes Borges, "that these erasures were in keeping with the plan of projecting a world which would not be too incompatible with the real world."[11] Material reality may be subject to reshaping by ideas, but apparently it is not entirely without resistance.)

While the fictional Borges and his academic colleagues pursue their interesting speculations about the epistemology, language, and literature of Tlön, the rest of the world gradually learns about the project and begins to adopt the Tlönic culture, an extreme case of ideas affecting reality. In the epilogue set in 1947, Earth is in the process of becoming Tlön. The fictional Borges is appalled by this turn of events, an element in the story that critics Emir Rodríguez Monegal and Alastair Reed[12] argue is to be read as a metaphor for the totalitarianism already sweeping across Europe at the time of the story's writing. Their remark seems only a small extrapolation from a passage toward the end of the story:

"Ten years ago, any symmetrical system whatsoever which gave the appearance of order — dialectical materialism, anti-Semitism, Nazism — was enough to fascinate men. Why not fall under the spell of Tlön and submit to the minute and vast evidence of an ordered planet? Useless to reply that reality, too is ordered."[13]

As the story ends, Borges is focused on an obsession of his own: a translation of Sir Thomas Browne's Urn Burial into Spanish. Arguably it is no more important than Tlön, but it is at least of this world.

[edit] Themes

[edit] Philosophical themes

Through the vehicle of fantasy or speculative fiction, this story playfully explores several philosophical questions and themes. These include, above all, an effort by Borges to imagine a world (Tlön) where the 18th century philosophical idealism of George Berkeley is viewed as common sense and "the doctrine of materialism" is considered a heresy, a scandal, and a paradox ["Tlön...", p.117]. Through describing the languages of Tlön, the story also plays with the epistemological question of how language influences what thoughts are possible. The story also contains several metaphors for the way ideas influence reality. This last theme is first explored cleverly, by way of describing physical objects being willed into existence by the force of imagination, but later returns darker, as fascination with the idea of Tlön begins to distract people from paying adequate attention to the reality of earth.

Much of the story engages with the philosophical idealism of George Berkeley, perhaps best known for questioning whether a tree falling unobserved in the forest makes a sound. (Berkeley, an Anglican bishop, resolved that question to his own satisfaction by saying that there is a sound because God is always there to hear it.) Berkeley's philosophy privileges perceptions over any notion of the "thing in itself." Immanuel Kant accused Berkeley of going so far as to deny objective reality.

In the imagined world of Tlön, an exaggerated Berkeleian idealism without God passes for common sense. The Tlönian view recognizes perceptions as primary and denies the existence of any underlying reality. At the end of the main portion of the story, immediately before the postscript, Borges stretches this toward its logical breaking point by imagining that, "Occasionally a few birds, a horse perhaps, have saved the ruins of an amphitheater" by continuing to perceive it.[14] Besides commenting on Berkeley's philosophy, this and other aspects of Borges' story can be taken as a commentary on the ability of ideas to influence reality. For example, in Tlön there are objects known as hrönir[15] that arise when two different people find the "same" lost object in different places.

Borges imagines a Tlönite working his way out of the problem of solipsism by reasoning that if all people are actually aspects of one being, then perhaps the universe is consistent because that one being is consistent in his imagining. This is, effectively, a near-reconstruction of the Berkeleian God: perhaps not omnipresent, but bringing together all perceptions that do, indeed, occur.

This story is not the only place where Borges engages with Berkeleian idealism and with the related 20th century philosophy of phenomenology. Phenomenology privileges psychical phenomena over physical phenomena and "brackets off" objective reality as unknowable. In the world of Tlön, as in Borges's essay New refutation of time (1947), there is (as Emir Rodriguez Monegal and Alastair Reed comment, a "denial of space, time, and the individual I."[16] This worldview does not merely "bracket off" objective reality, but also parcels it separately into all its successive moments. Even the continuity of the individual self is open to question.

When Borges writes "The metaphysicians of Tlön are not looking for truth or even an approximation to it: they are after a kind of amazement. They consider metaphysics a branch of fantastic literature,"[17] he can be seen either as anticipating the extreme relativism that underlies some postmodernism or simply as taking a swipe at those who take metaphysics too seriously.

[edit] Literary themes

The story also anticipates, in miniature, several key formal ideas that were later played out in the works of Vladimir Nabokov. At one point Borges has Adolfo Bioy Casares propose to "writ[e] a novel in the first person, using a narrator who omitted or corrupted what happened and who ran into various contradictions," which arguably anticipates the strategy of Nabokov's Lolita (1955) and precisely anticipates the strategy of his Pale Fire (1962). At the same time, Earth's obsession with Tlön in Borges's story anticipates the central conceit of Nabokov's Ada or Ardor: A Family Chronicle (1969), where the narrator's world has a similar obsession with Terra. In both works, the people of the narrator's world become obsessed with an imaginary world (Tlön/Terra) to the point of being more interested in that fiction than in their own lives. The parallel is not perfect: in Borges's story, the narrator's world is essentially our own world, and Tlön is a fiction that gradually intrudes upon it; in Nabokov's novel, the narrator's world is a parallel world and Terra is our Earth, misperceived as a place of almost uniform peace and happiness.

In the context of the imagined world of Tlön, Borges describes a school of literary criticism that arbitrarily assumes that two works are by the same person and, based on that, deduces things about the imagined author.

The story also plays with the theme of the love of books in general, and of encyclopedias and atlases in particular — books that are each themselves, in some sense, a world.

Like many of Borges's works, the story challenges the boundaries between fiction and non-fiction. It mentions several quite real historical human beings (himself, his friend Bioy Casares, Thomas de Quincey, et al.) but often attributes fictional aspects to them; the story also contains many fictional characters and others whose factuality may be open to question.

[edit] Other themes

While this might seem quite enough material for any short story, "Tlön, Uqbar, Orbis Tertius" also engages a number of other related themes. The story begins and ends with issues of reflection, replication, and reproduction — both perfect and imperfect — and the related issue of the power of language and ideas to make or remake the world.

At the start of the story, we have an "unnerving" and "grotesque" mirror reflecting the room, a "literal if inadequate" (and presumably plagiarized) reproduction of the Encyclopedia Britannica, an apt misquotation by Bioy Casares, and the issue of whether one should be able to trust whether the various copies of a single book will have the same content.[18] At the end Borges is working on a "tentative translation" of an English-language work into Spanish, while the power of the ideas of "a scattered dynasty of solitaries" remakes the world in the image of Tlön.[19]

Along the way we have stone mirrors;[20] the idea of reconstructing an entire encyclopedia of an imaginary world based on a single volume;[21] the analogy of that encyclopedia to a "cosmos" governed by "strict laws";[22] a worldview in which our normal notions of "thing" are rejected, but "ideal objects abound, invoked and dissolved momentarily, according to poetic necessity";[23] the universe conceived as "the handwriting of a minor god to communicate with a demon" or a "code system… in which not all symbols have meaning";[24] hrönir, duplicates of objects called into existence by ignorance or hope, and where "those of the eleventh degree have a purity of form that the originals do not possess";[25] and Ezra Buckley's wish "to demonstrate to a nonexistent God that mortal men were capable of conceiving a world."

[edit] Fact and fiction in "Tlön, Uqbar, Orbis Tertius"

It is by no means simple to sort out fact and fiction within this story. The picture is further complicated by the fact that other authors (both in print and on the web) have chosen to join Borges in his game and write about one or another fictional aspect of this story either as if it were non-fiction or in a manner that could potentially confuse the unwary reader. A few online examples are:

  • The Italian-language site La Biblioteca di Uqbar treats Tlön itself as duly fictional, but writes as if the fictional Silas Haslam's entirely imaginary History of the Land Called Uqbar was a real work.[26]
  • A fictional entry about Uqbar stood unchallenged for some time in the Wikipedia.[27]

As a result, simply finding a reference to a person or place from "Tlön, Uqbar, Orbis Tertius" in a context seemingly unrelated to Borges's story is not enough to be confident that the person or place is real. See, for example, the discussion below of the character Silas Haslam.

According to an article by Alan White, Williams College professor of philosophy, the Anglo-American Cyclopaedia actually exists and is more or less as Borges describes it, although it is a reprint of the 9th Edition of the Britannica, not (as the story has it) the 10th. In both the 9th Edition of the Britannica and in the Anglo-American Cyclopaedia, one volume ends with Upsala and the next begins with Ural-Altaic languages. Uqbar, if it existed would fall in between. In the 11th edition of the Britannica, Borges's favorite, there is an article in between these on several meanings of "Ur", including the name of a minor gnostic deity.[28]

[edit] Levels of reality

There are several levels of reality (or unreality) in the story:

  • Most (but not all) of the people mentioned in the story are real, but the events in which they are involved are mostly fictional, as are some of the works attributed to them. This is discussed in detail in the section below on real and fictional people.
  • The main portion of the story is a fiction set in a naturalistic world; in the postscript, magical elements have entered the narrator's world. The main portion could certainly be seen as a false document; the postscript dissolves the illusion.
  • The land of Uqbar is fictional from the point of view of the world of the story. The supposed Anglo-American Cyclopaedia article on Uqbar proves, within the story, to be a fictitious entry.
  • Mlejnas, and Tlön as it is first introduced, are fictional from the point of view of Uqbar. In the course of the story, Tlön becomes more and more "real": first it moves from being a fiction of Uqbar to being a fiction of the narrator's own naturalistic world, then it begins (first as idea and then physically) taking over that world, to the point of finally threatening to annihilate normal reality.

[edit] Real and fictional places

Although the culture of Uqbar described by Borges is fictional, there are two real places with similar names. These are:

  1. The medieval city of ‘Ukbarâ on the left bank of the Tigris between Samarra and Baghdad in what is now Iraq. This city was home to the great Islamic grammarian, philologist, and religious scholar Al-‘Ukbarî (ca. 1143-1219) — who was blind, like Borges's father and like Borges himself was later to become — and to two notable early Jewish/Karaite "heresiarchs" (see above), leaders of Karaite movements opposed to Anan ben David, Ishmael al-Ukbari and Meshwi al-Ukbari, mentioned in the Jewish Encyclopedia of 1901–1906.[29]
  2. ‘Uqbâr in the Atlas Mountains of Algeria; the minarets of the latter's area might relate to the "obelisks" of Uqbar in the story.

See Uqbar for further details and for references.

While there is no equally clear referent for Tlön, the unusual consonant cluster tl- at the beginning of a word does exist in the Berber language (for example in the place name Tlemcen) in Maghreb Arabic. Berber is spoken in parts of Algeria (including the M'zab valley), home to one of the referents for Uqbar.

"Orbis Tertius", Latin for "third world", "third circle", or "third territory" does not appear to be a geographic reference, nor does there seem to be any relation to the third circle of Dante's hell, which was reserved for gluttons. One possible interpretation is that it is a reference to the Earth's orbit around the Sun, which is third after Mercury and Venus.

Tsai Khaldun is undoubtedly a tribute to the great historian Ibn Khaldun, who lived in Andalusia for a while; his history focuses on North Africa and was probably a major source for Borges. Additionally, "khaldun" is Mongolian for "mountain", while "tsai" in Chinese is "cabbage" or "green and leafy".

Other places named in the story — Khorasan, Armenia, and Erzerum in the Middle East, and various locations in Europe and the Americas — are real. The Axa Delta, mentioned in the same context as Tsai Khaldun, appears to be fictional.

[edit] Real and fictional people

Listed here in order of their appearance in the story:

  • Adolfo Bioy Casares — non-fictional, Argentine fiction-writer, a friend and frequent collaborator of Borges.[30]
  • Smerdis — The story refers in passing to "the impostor, Smerdis the Magician".[31] After the death of the actual Smerdis (son of Cyrus the Great of Persia) a Magian priest named Gaumata successfully impersonated him for several months and ruled in his stead.
  • Justus Perthes — non-fictional, 18th century founder of a German publishing firm that bears his name; undoubtedly, the story is accurate in implying the firm's atlases do not mention Uqbar.
  • Carl Ritter — one of the founders of modern geography. In the story, Borges notes the absence of any mention of Uqbar in Ritter's cartographic index Erdkunde. (In the story, only the surname is given.)[30]
  • Bernard Quaritch — An actual nineteenth-century bookseller in London.[30] The bookstore bearing his name still survives.[32] In the story, his catalogues include Silas Haslam's History of the Land Called Uqbar.
  • Silas Haslam — Believed to be entirely fictional. "Haslam" was Borges's maternal grandmother's maiden name.[30] In the story, besides the 1874 History of the Land Called Uqbar, a footnote informs us that Haslam is the author of A General History of Labyrinths (labyrinths are a recurring theme in Borges's work). A usually reliable Spanish-language readers' guide to Borges asserts that Haslam is fictional.[33] However, Haslam's "General History of Labyrinths" has been cited twice in reputable, peer-reviewed scientific literature: in "Complexity of two-dimensional patterns", by Kristian Lindgren, Cristopher Moore, and Mats Nordahl (published in the June 1998 edition of the Journal of Statistical Physics) and "Order parameter equations for front transitions: Nonuniformly curved fronts," by A. Hagberg and E. Meron (published in the November 15, 1998 issue of Physica D).[34]
  • Johannes Valentinus Andreä — German theologian, and the real author of Chymische Hochzeit Christiani Rosencreutz anno 1459 (Chymical Wedding of Christian Rosenkreutz), one of the three founding works of the Rosicrucians, but not of the Lesbare und lesenswerthe Bemerkungen über das Land Ukkbar in Klein-Asien (Readable and worthwhile remarks about the country of Ukkbar in Asia Minor) attributed to him in this story.
  • Thomas De Quincey — best known for his autobiographical works Confessions of an English Opium-Eater and Lake Reminiscences.[30] Mentioned in passing in the story (by his surname) for his ostensible (not independently verified) mention of Andreä.
  • Carlos Mastronardi — Argentine writer, member of the Martín Fierro group (also known as Florida group), and a close friend of Borges.[30] In the story, he finds a copy of the Anglo-American Cyclopaedia that omits the Uqbar pages.
  • Herbert Ashe — presumably fictional, based on one or more of Borges's father's English friends.
  • Néstor Ibarra, Ezequiel Martínez Estrada, and (Pierre) Drieu La Rochelle — all historical, described in the story as engaged in a dispute over whether the discovery of A First Encyclopaedia of Tlön. Volume XI. Hlaer to Jangr implies the existence of the other volumes to which it makes references. Ibarra was a noted Argentinian poet (and Borges's translator into French)[30]; Estrada, an Argentinian, was the author of, among other works, Muerte y transfiguración de Martín Fierro ("Death and Transfiguration of Martín Fierro"), a major commentary on Argentina's most famous nineteenth century literary work.[30] Drieu La Rochelle, who was to commit suicide after becoming infamous for his collaboration with the Nazis during the Occupation of France, was one of the few foreign contributors to Sur, Victoria Ocampo's Argentine journal to which Borges was a regular contributor.
  • Alfonso Reyes — Mexican diplomat who served for a time in Argentina.[30] In the story, he proposes to recreate the missing volumes of A First Encyclopaedia of Tlön.
  • The philosopher Leibniz is mentioned in passing, and Hume is mentioned for finding Berkeley "unanswerable but thoroughly unconvincing."[35]
  • Bishop George Berkeley, a driving engine of the story, was the founder of the modern school of philosophical idealism.[30]
  • Xul-Solar — adopted name of Oscar Agustín Alejandro Schulz Solari, Argentine watercolorist, esotericist, and (presumably most relevant here) inventor of imaginary languages.[30] In the real world a close associate of Borges and a member of the Florida group; in the story, he skillfully translates one of the languages of the Southern Hemisphere of Tlön.
  • Alexius Meinong — Austrian psychologist and philosopher, who wrote Gegenstandstheorie ("The theory of objects"), where he wrote at length about the notion of objects that exist only in our minds. He is referred to by his surname in the story;[30] his theories are alluded to by way of explaining the languages of the Northern Hemisphere of Tlön. Presumably, Borges is acknowledging where he got the idea for this imaginary family of languages.
  • Bertrand Russell — British philosopher. In a footnote, the story refers (accurately) to his conjecture that (in Borges's words) "our planet was created a few moments ago, and provided with a humanity which 'remembers' an illusory past."[36]
  • Baruch Spinoza — Dutch / Portuguese Jewish philosopher, referred to in the story by his surname, and accurately paraphrased: "Spinoza attributes to his inexhaustible divinity the attributes of extension and of thought."
  • Similarly, the story's use of the German-language phrase Philosophie des Als Ob presumably refers to philosopher Hans Vaihinger, whose book of this name (first edition: 1911) puts forward the notion that some human concepts are simply useful fictions.
  • The ancient Greek philosopher Zeno is accurately alluded to in the story for his paradoxes denying the possibility of motion, based on the indivisibility of time.
  • The philosopher Arthur Schopenhauer, as with Meinong, is acknowledged, in this case for his Parerga und Paralipomena,[30] which Borges (apparently falsely) claims parallels a Tlönist "idealist pantheism". This is the really the Absolute Idealism of Schopenhauer's despised rival, Georg Hegel, which was derived from Spinoza's pantheism. Schopenhauer does not assert that there is only one subject and that this one subject is every being in the universe; on the contrary, he asserts that each individual observing animal is a unique subject, having its own point of view of the objects that it experiences. Presumably Borges's related remark about preserving a psychological basis for the sciences is something of a joke on preserving a scientific basis for psychology.
  • William Shakespeare presumably needs no explanation. Merely alluded to in the story, without fictional embellishment.
  • Gunnar Erfjord is presumably not a real person. The name is a combination of Gunnar Lange and Berta Erfjord, parents of Argentine author Norah Lange,[37] another member of the Martín Fierro group. At the beginning of the postscript to the story, a letter from Gunnar Erfjord clears up the mystery of the "benevolent secret society" that devised Tlön.[38] He is presumably also the "Norwegian in Rio Grande do Sul" mentioned early in the story.[39]
  • Charles Howard Hinton was an eccentric British mathematician, associated with the theosophists; Borges later edited and wrote a prologue for a translation of Hinton's "scientific romances", and also alludes to him in the story "There are More Things", in the Book of Sand (1975). In "Tlön...", the letter from Gunnar Erfjord is found "in a volume of Hinton", presumably invoked for his interest in extra dimensions and parallel worlds.
  • George Dalgarno, seventeenth-century Scottish intellectual with an interest in linguistics, and inventor of a language for deaf mutes.[30] He is alluded to by his last name as an early member (along with Berkeley) of the fictional secret society that sets in motion the story of the doubly fictional Uqbar (and the triply fictional Tlön).
  • Ezra Buckley, the eccentric American benefactor who expands the scale of the Uqbarist enterprise to a full Tlönist encyclopedic undertaking, is entirely fictional. It has been conjectured that there is an allusion to Ezra Pound.[30]
  • María Lidia Lloveras — Argentine, married into an old French noble family, making her Princess Faucigny Lucinge. She lived in Buenos Aires and was a friend of Borges. In the story, under her royal title, she stumbles across one of the first objects from Tlön to appear in our world.
  • Enrique Amorim[30]Uruguayan novelist.[30] In the story, along with Borges, he witnesses the Tlönic coins that have fallen from the pocket of a dead man.
  • Francisco de Quevedo — Baroque Spanish poet and picaresque novelist, is alluded to here simply for his writing style.
  • Thomas Browne, seventeenth-century English physician and essayist, is indeed the author of Urn Burial,[30] which at the end of the story the fictional Borges is translating, though without intent to publish.

[edit] "Tlön…" in the context of Borges's life and works

"Tlön, Uqbar, Orbis Tertius" formed part of a 1941 collection of stories called El jardín de senderos que se bifurcan ("The Garden of Forking Paths"). This book — Borges's first book of fiction — constituted a milestone in his career.

At the time he wrote "Tlön..." in early 1940, Borges was little known outside of Argentina. He was working in a local public library in Buenos Aires, and had a certain local fame as a translator of works from English, French and German, and as an avant garde poet and essayist (having published regularly in widely read Argentinian periodicals such as El Hogar, as well as in many smaller magazines, such as Victoria Ocampo's Sur, where "Tlön..." was originally published). In the previous two years he had been through a great deal: his father had died in 1938, and on New Year's 1939, Borges himself had suffered a severe head wound in an accident; during treatment for that wound, he nearly died of a blood infection.

For some time before his father's death and his own accident, Borges had been drifting toward writing fiction. His Historia universal de la infamia (Universal History of Infamy), published in 1935, used a baroque writing style and the techniques of fiction to tell the stories of seven historical rogues. These ranged from "El espantoso redentor Lazarus Morell" ("The Dread Redeemer Lazarus Morell") — who promised liberty to slaves in the American South, but brought them only death — to "El incivil maestro de ceremonias Kotsuké no Suké" ("The Insulting Master of Etiquette Kôtsuké no Suké"), the story of the central figure in the Japanese Tale of the 47 Ronin, also known as Kira Kozuke-no-Suke Yoshinaka. Borges had also written a number of clever literary forgeries disguised as translations from authors such as Emanuel Swedenborg or from the Tales of Count Lucanor. Recovering from his head wound and infection, Borges decided it was time to turn to the writing of fiction as such.

Several of these fictions, notably "Tlön…" and Pierre Menard, autor del Quijote ("Pierre Menard, Author of The Quixote", published ten months earlier in Sur, and also included in El jardín de senderos que se bifurcan), could only have been written by an experienced essayist. Both of these works apply Borges's essayistic style to largely imaginary subject matter. His massive erudition is as evident in these fictions as in any non-fictional essay in his body of works.

Buenos Aires at this time was more of an intellectual center than it is in the early 21st century. Literary and intellectual circles such as the Florida group (or Martín Fierro group), of which Borges was part, and its more politically engaged rival, the Boedo group, justly considered themselves the equal of their peers in Paris. With Europe engaged in World War II and soon to be completely overrun by totalitarian regimes, Argentinians could reasonably imagine that the intellectual leadership of the Romance language world might fall to them.

In fact, that was not to be. With the re-emergence of France after the war, Paris reasserted itself as an intellectual center, while Buenos Aires during the regime of Juan Perón was nothing of the sort.

Borges's first volume of fiction failed to garner the literary prizes many in his circle expected for it. Victoria Ocampo dedicated a large portion of the July 1941 issue of Sur to a "Reparation for Borges"; numerous leading writers and critics from Argentina and throughout the Spanish-speaking world contributed writings to the project, which probably brought his work as much attention as a prize would have.

Over the next few decades "Tlön, Uqbar, Orbis Tertius" and Borges's other fiction from this period formed a key part of the body of work that put Latin America on the international literary map. Borges was to become far more widely known throughout the world as a writer of extremely original short stories than as a poet and essayist.

[edit] Publication history

As already stated, "Tlön, Uqbar, Orbis Tertius" originally appeared in Spanish in Sur in 1940. The Spanish-language original was then published in book form in Borges's 1941 collection El Jardín de senderos que se bifurcan (The Garden of Forking Paths). That entire book was, in turn, included within Ficciones (1944), a much-reprinted book (15 editions in Argentina by 1971).

The first published English-language translation was by James E. Irby. It appeared in the April 1961 issue of New World Writing. The following year, Irby's translation was included as the first piece in a diverse collection of Borges works entitled Labyrinths. Almost simultaneously, and independently, the piece was translated by Alastair Reed; Reed's version was published in 1962 as part of a collaborative English-language translation of the entirety of Ficciones. The Reed translation is reprinted in Borges, a Reader (1981, ISBN 0525466547), p.111–122. Quotations and page references in this article follow that translation.

[edit] Names deriving from this story

  • Axaxaxas mlö is the title of a fictional book mentioned in another Borges short story, "The Library of Babel".
  • hlör u fang axaxaxas mlö, taken from the example of the Tlön language described in the story, is the title of a chamber music piece for clarinet, violin, cello, and piano by Colombian composer Diego Vega, which won the 2004 Colombian National Prize for Music Composition, awarded by the Colombian Ministry of Culture.[40][41]
  • Tlön Uqbar, named after the Borges story, is a joint project of French industrial bands Internal Fusion and Désaccord Majeur. Their album La Bola Perdida was released in 1999 by the Dutch label Staalplaat.
  • Uqbar is the name of an instance of the encyclopedia-building game Lexicon, based on Borges's work.

[edit] Inspiration for real world projects

  • Codex Seraphinianus, a mock encyclopedia by Luigi Serafini, "describes" a surreal world entirely in drawings and by a so-far undeciphered language and invented alphabet.
  • Ummo, a hoax by one or more persons, consisting of more than one thousand pages of text and pictures, in letter form, describing an extraterrestrial civilization and detailing their contact with Earth. UFO researcher Jacques Vallée has specifically likened Ummo to the project described by Borges' short story, which leads to the possibility of the perpetrator(s) having derived some inspiration from it.
  • Tlön: A Misty Story (also Tlon: A Misty Story) is a point-and-click adventure game in which Tlön is an alternate realm. Ironically, due to a bug the game is impossible to complete, thus it is similar to the Tlön of Borges. [citation needed]

[edit] External links

  • "Tlön, Uqbar, Orbis Tertius" is mentioned in a comparison of fictional languages from science-fiction stories at The Darmok Dictionary.


[edit] Notes and references

  1. ^ "Tlön…", p.112
  2. ^ "Tlön…", p.113
  3. ^ "Tlön…", p.114
  4. ^ "Tlön…", p.115
  5. ^ Andrew Hurley, The Zahir and I, The Garden of Forking Paths, part of TheModernWorld.com. Accessed 3 August 2006.
  6. ^ "Tlön…", p.115
  7. ^ "Tlön…", p.115
  8. ^ "Tlön…", p.115
  9. ^ "Tlön…", p.120
  10. ^ "Tlön…", p.120
  11. ^ "Tlön…", p.121
  12. ^ op. cit., p.347–8
  13. ^ "Tlön…", p.121–2
  14. ^ "Tlön…", p.119
  15. ^ "Tlön…", p.119
  16. ^ Monegal and Reed, notes to Borges, a Reader, p. 353.
  17. ^ "Tlön…", p.116
  18. ^ "Tlön…", p. 111–2.
  19. ^ "Tlön…", p. 122.
  20. ^ "Tlön…", p. 113
  21. ^ "Tlön…", p. 114
  22. ^ "Tlön…", p. 115
  23. ^ "Tlön…", p. 115)
  24. ^ "Tlön…", p. 117
  25. ^ "Tlön…", p. 119
  26. ^ La Biblioteca di Uqbar accessed 3 August 2006.
  27. ^ Uqbar Wikipedia, The Free Encyclopedia, (version of December 2, 2003).
  28. ^ Alan White, (untitled document), accessed 3 August 2006.
  29. ^ Singer, Isidore and Broydé, Isaac, Meshwi al-‘Ukbari, Jewish Encyclopedia, 1901–1906. Accessed online 9 September 2006.
  30. ^ a b c d e f g h i j k l m n o p q r "Guía de lectura…"
  31. ^ "Tlön…", p. 113
  32. ^ Bernard Quaritch, Antiquarian bookseller, official site. Accessed 14 November 2006.
  33. ^ Guía de lectura de Ficciones, de Jorge Luis Borges on the site of Universidade Federal de Santa Caterina (Brazil), accessed 3 August 2006.
  34. ^ Lindgren, Moore, Nordahl, Complexity of Two-Dimensional Patterns (2000). Citation list and access to article in various formats at CiteSeer accessed 3 August 2006. Hagberg and Meron's citation is from the Institute for Scientific Information's Web of Science(link) (university subscription necessary), which notes both the Lindgren et. al. citation and that of Hagberg and Meron in Physica D (Nov 15 1998, pg. 460-473). Accessed September 9, 2006.
  35. ^ "Tlön…", p.115
  36. ^ The Analysis of Mind, 1921, p. 159, cited in "Guía de lectura…"
  37. ^ Fredrik Wandrup, Vår mann i Latin-Amerika, Dagbladet (Norway), 7 October 1999. Accessed 3 August 2006.
  38. ^ "Tlön…", p. 119–20
  39. ^ "Tlön…", p. 113
  40. ^ Diego Vega, Hlör u fang axaxaxas mlö for clarinet, violin, cello, and piano, accessed online 14 November 2006.
  41. ^ (Spanish) La gran noche de la cultura colombiana, 2004, Colombian Minsitry of Culture, accessed online 14 November 2006.
  42. ^ SourceForge's Project Uqbar page, accessed online 14 November 2006.

[edit] References

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