JORGE LUIS BORGES

We see the dream imaginativeness pervasive throughout The Book of Sand, and we also get a sense of the worldview persuadeed by Borges, one wherein discovering the meaning of emotional state is a futile journey "'My dream,' I told him, ?has already lasted for seventy years. And besides?when one wakes up, the person one meets is always one self. That is what's natural event to us now, but that we are two. Wouldn't you like to know something well-nigh my past, which is now the future that awaits you?" (Borges 413).

We see the narrator dealing with local realities but preoccupied by universal conceptions. For all we know, he is imagining his younger self and carrying on the dialogue with himself. Nonetheless, this vague, blurred, dream-like perception of reality, an around wizardly quality, is repeated in many of the stories in this arrangement as we shall see. We also see in this history Borges' tenet that life is experienced through originator and the senses. When he is talk of the town of literature with his younger self, he explains "My alter ego believed in the imagination, in creation?in the discovery of new metaphors; I myself believed in those that correspond to close and widely acknowledged likenesses, those our imagination has already accepted: old age and death, dreams and life, the flow of eon and water. I informed the young man of this opinion, which he himself was to express in a book, years later" (Borges 415). Time, space, mind and self are all interwov

quite a few times, we see a positive birth surrounded by a man and a woman in Borges' stories within The Book of Sand. One such in ill-tempered is Ulrikke. The story builds to an encounter in a hotel room between a man and a woman who are traveling Europe by train. They have their encounter in York, a medieval town. He is a professor and she is Norwegian. The poem begins and ends with the magical realism or dream-like appearance and perception of reality, all sweep in time and space with only memories as a method of putting some order to the chaos "My story will be faithful to reality, or at to the lowest degree to my personal recollection of reality, which is the same thing" (Borges 418).

The intangibility of reality, except for immortality achieved by art, as we will see later in The Mirror and the Mask, is announced at the start of the story by the female feminist heroine "England was our and we lost her?if, that is, anyone can possess anything or anything can really be lost" (Borges 418).

Mariani, the carpenter, also gives us an indication that something is wrong when he tells the narrator that something about "elder Preetorius was ?not quite right,' if I knew what he meant?he tapped his forehead with his finer. Then, regretting he'd gone so far, he would say no more" (Borges 440). Yet, the narrator believes that there cannot be such an enigma in reality, only through time. He keeps telling himself that "time?that blank space web of yesterday, today, the future, forever, never?is the only true enigma" (Borges 441). at one time again, we see Borges' preoccupation with time and the inability of the human beingness to grasp reality in the face of the time-space riddle. Our own reason and senses cannot fully comprehend existence and the universe, so we are unexpended with pieces of experiences, recollections, and partially accurate memories with which to define the self. We see an excellent exit of this expressed in There Are More Things, which bordering on the magical, implie
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