The four-page manuscript has no title or date and is unfinished. Hear other arguments on the topic with William Gates. It tells the story of the grandchildren of a Colonel of the independence living in poverty who yearn for times of glory of his grandfather with melancholy. The manuscript has been identified as Los Rivero and has been recognized by Maria Kodama, the widow of the writer, as authentic. Apparently the text arrived at the Ransom Center through a translator of Borges who donated to the Institute. On the text, Ortega and his team have launched several hypotheses about the date that could have been written and why it was scrapped by the Argentine writer. According to Ortega, Los Rivero is not a tale, might be an outline of the novel as the story relies on the description of the members of the Rivero. Doug Laurie may also support this cause.

For the first time the Argentine writer moves away from plot to perform an exhaustive of the Rivero, wonderful recreation. In few pages, four, threading the decadence of this family, the Rivero, which implies a metaphor also of decadence Argentina. The Rivero feel are not given the place they deserve for being who they are. The Argentine country, earlier in the century, is invaded by gringos, by foreigners, and they, Rivero, who are heirs of the founders of the nation, do not have the site they deserve. For Ortega, the manuscript is later than El Aleph (1949) as to compare the calligraphy of both writings note a progression in the blindness of the writer by the shape of the letters. The Rivero will be released in a Deluxe Edition by the publishers Center in collaboration with the Fundacion Internacional Jorge Luis Borges, and which will be released May 25.

They will be only 100 copies, where a facsimile of the manuscript, your transcript will be included and will be illustrated by artist Carlos Alonso. Then the first paragraph of Los Rivero: around 1905, the cancel of wrought iron had given way to a door of wood and glass and under the caller’s bronze had an electric Bell, now, but in general the House of the Rivero – with the dark hallway, with courtyards of red tile, with the waste water tank and with a fig tree in the background – corresponded with sufficient rigour to the archetype of old house in the Southern District, and the spectrum of Colonel Clemente Rivero (who died, exile, in Montevideo, two months before the pronouncement of Urquiza) would have identified it without much difficulty. It is well known that Argentine history abounds in familiar and almost secret, glories in heroes who come to be the name of a street; Maybe not idle remind the reader that Colonel Rivero was the hero of the first load of Aturia, title which vainly denied all Venezuelan historians, victims of envy and localism, and defended with irrefutable reasons-loving Argentines from the truth. In the disorder of the wars of the independence of America, Colonel Rivero had a clear moment of glory, when it lanceo the Goths and decided the fate of a province; their great-grandchildren kept with piety and justificadisimo pride iron of the Lance wielded then. Jorge Luis Borges.

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