In 1941, Jorge Luis Borges published “The Garden of Forking Paths,” a short story in which a spy travels to the home of an English scholar. There they discuss an odd book by the spy’s great-grandfather, Ts’ui Pên. Rather than follow a single plot, the book aims to explore countless storylines. “In all fictional works, each time a man is confronted with several alternatives he chooses one and eliminates the others,” the scholar says. “In the fiction of the almost inextricable Ts’ui Pên he chooses—simultaneously—all of them. He creates, in this way, diverse futures, diverse times which themselves also proliferate and fork.”
Borges devoted most of his story to explaining the complicated idea that many different realities can coexist in a mazelike web of timelines. “This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time,” the scholar goes on. “We do not exist in the majority of these times; in some you exist, and not I; in others I, and not you; in others, both of us.” The story invites the reader to imagine what else, other than the world we know, might be possible. But the spy ultimately wonders whether, if everything that can happen does happen, any choice is really worth making.
Esta historia es de la edición November 07, 2022 de The New Yorker.
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Esta historia es de la edición November 07, 2022 de The New Yorker.
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INSIDE JOB-"Hit Man"
Years before Hannah Arendt coined, in the pages of this magazine, the phrase \"the banality of evil,\" popular films and fiction were embodying that idea in the character of the hit man. In classic crime movies such as \"This Gun for Hire\" (1942) and \"Murder by Contract\" (1958), hit men figure much as Nazis do in political movies, as symbols of abstract evil.
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