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Sobre o sonho e outros diálogos

4.19  ·  Rating Details ·  96 Ratings  ·  4 Reviews
Nate nel 1984 dagli incontri radiofonici con il giornalista e poeta argentino Osvaldo Ferrari, queste Conversazioni vertono sui più diversi argomenti culturali e, dietro l'apparente divagare, offrono una testimonianza degli interessi e dell'intelligenza di uno dei protagonisti del Novecento. Un autoritratto di Borges più arguto, capace di un discorrere piano ma all'occasio ...more
248 pages
Published 2009 by Editora Hedra (first published February 1st 2002)
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Vivek Tejuja
Reading conversations with writers is fun. It is the best thing ever according to me. Their views, thoughts, expressions, blatantly calling out bull shit sometimes and most importantly their perspectives are to be cherished and worth going back to every once a while.

For me, reading about conversations with Jorge Luis Borges was a stunning experience. He doesn’t leave any stone unturned. His conversations are with Osvaldo – a poet and a university professor.

Jorge Luis Borges has always been my
Dec 11, 2015 David rated it really liked it  ·  review of another edition
Shelves: art
This book is based on a series conversations Borges had on Argentine radio. The conversations are uneven. When he discusses other authors Borges is at his best. Discussing politics he becomes a little more dull.
Jun 08, 2015 Mike rated it it was amazing  ·  review of another edition
This book is a fun read. It's an ongoing conversation in short increments. Conversations gives an insight into a world class author's opinions. It was delightful to hear two extremely intelligent people discussing literature. Borges has all this wisdom and insight for the human experience through words. After reading this book I felt like I had taken a masterclass in Argentine literature. Borges mentions many of his contemporaries and their literary accomplishments many of whom I added to my TBR ...more
Dec 19, 2015 Arthur rated it it was amazing  ·  review of another edition
These are conversations Borges had with Osvaldo Ferrari over the radio in 1984 or so. They were recorded and published in Borges's lifetime. Of course, they talk about a wide variety of subjects. Many of the talks are on Argentine literature and writers. Most of the writers mentioned lived in the early 20th century and were unfamiliar to me. Having read about them here, I was then able to look them up elsewhere. So I was able to expand my knowledge of Latin American literature a little bit.
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Jorge Francisco Isidoro Luis Borges Acevedo (Spanish pronunciation: [xoɾxe lwis boɾxes], Russian: Хорхе Луис Борхес) was an Argentine writer and poet born in Buenos Aires. In 1914, his family moved to Switzerland where he attended school and traveled to Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in Surrealist literary journals. He also worked as a libra ...more
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“him. I also recall the great poster for Ana Christie with Greta Garbo, based on a Eugene O’Neill play. ‘Garbo Talks’ it said. In that film, a series of inns were shown to stimulate our expectations, then there was mist, then a horse in the mist, then finally a woman arrived from Sweden and walked across the stage. Ferrari. Was it Greta Garbo? Borges. Yes, she arrived at the bar and slowly strolled past a very long table. We all expected her to talk—we were waiting to hear Greta Garbo’s voice, her never-heard-before voice. What we did hear was a hoarse voice that said, ‘Give me a whisky.’ It made us shiver with emotion. That was her first talkie.” 1 likes
“When you read The Arabian Nights you accept Islam. You accept the fables woven by generations as if they were by one single author or, better still, as if they had no author. And in fact they have one and none. Something so worked on, so polished by generations is no longer associated with and individual. In Kafka's case, it's possible that his fables are now part of human memory. What happened to Quixote could happen to to them. Let's say that all the copies of Quixote, in Spanish and in translation, were lost. The figure of Don Quixote would remain in human memory. I think that the idea of a frightening trial that goes on forever, which is at the core of The Castle and The Trial (both books that Kafka, of course, never wanted to publish because he knew they were unfinished), is now grown infinite, is now part of human memory and can now be rewritten under different titles and feature different circumstances. Kafka's work now forms a part of human memory.” 1 likes
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