The man we see in these eleven interviews is a person made of books, a librarian who often remarked that his idea of paradise was an endless library—a sort of eternal busman’s holiday. He speaks of himself as a reader first and a writer only secondarily. That this self-conception emerges out of his scrupulous humility and instinct for self-effacement doesn’t make it any less accurate or revealing. Borges’s writing was always, to some degree, a creative form of reading, and many of his best fictions were meditations on the condition of fictionality: reviews of invented books, stories whose central presences were not people but texts. He was a man of letters in the nineteenth-century mode, possessed of a type of encyclopedic erudition that seems not to exist anymore. And this brings us to one of the structural paradoxes at the heart of Borges’s work. He was deeply invested in the past, in the idea of a living and evolving literary tradition. “I think of myself as not being a modern writer,” he says here. “I don’t think of myself as a contemporary of surrealism, or dadaism, or imagism, or the other respected tomfooleries of literature, no? I think of literature in terms of the nineteenth century and the early twentieth century. I am a lover of Bernard Shaw, Henry James.” And yet this strangely totalizing conservatism was the basis of Borges’s radical legacy, a new way of thinking about fiction and its relationship to the world.
An article about two new books about Borges. [via The New Yorker]