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.
Plot summaryMajor 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. 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.
Philosophical 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.
Other themes
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:
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.
There in fact exists an Anglo-American Encyclopaedia, which is a plagiarism, differently paginated, of the tenth edition of the Encyclopedia, and in which the 46th volume is TOT-UPS, ending on p. 917 with Upsala, and followed by Ural-Altaic in the next volume; Uqbar would fall in between. In the 11th edition of the Britannica, Borges's favorite, there is an article in between these on "Ur"; which may, in some sense, therefore be Uqbar. Different articles in the 11th edition mention that Ur, as the name of a city, means simply "the city", and that Ur is also the aurochs, or the evil god of the Mandaeans. Borges may be punning on the sense of "primaeval" here with his repeated use of Ursprache. Fact and fiction in "Tlön, Uqbar, Orbis Tertius"
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. Levels of reality
Although the culture of Uqbar described by Borges is fictional, there are two real places with similar names. These are:
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) and in Maghrebi 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.
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.
'Uqbâr in the Atlas Mountains of Algeria; the minarets of the latter's area might relate to the "obelisks" of Uqbar in the story. Real and fictional places
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. which at the end of the story the fictional Borges is translating, though without intent to publish. Real and fictional people
"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 was, at this time, a thriving intellectual center. 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, considered themselves the equal of their peers in Paris. In contrast to an European continent engaged in World War II and soon to be completely overrun by totalitarian regimes, Argentina, and Buenos Aires in particular, flourished intellectually and artistically.
Nevertheless, 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, and the subsequent military governments, languished, sending in exile many of its leading intellectuals.
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.
"Tlön…" in the context of Borges's life and works
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 Reid; Reid'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 0-525-47654-7), p.111–122. Quotations and page references in this article follow that translation.
Publication history
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.
Uqbar is the name of an instance of the encyclopedia-building game Lexicon, based on Borges's work. Inspiration for real world projects
"Tlön, Uqbar, Orbis Tertius" is mentioned in a comparison of fictional languages from science-fiction stories at The Darmok Dictionary.
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