{"product_id":"collected-fictions-isbn-9780140286809","title":"Collected Fictions","description":"\u003cb\u003eFor the first time in English, all the fiction by the writer who has been called “the greatest Spanish-language writer of our century” collected in a single volume\u003cbr\u003e\u003cbr\u003e\u003cb\u003e“An event, and cause for celebration.”—\u003ci\u003eThe New York Times\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eA Penguin Classics Deluxe Edition with flaps and deckle-edged paper\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003eFor some fifty years, in intriguing and ingenious fictions that reimagined the very form of the short story—from his 1935 debut with \u003ci\u003eA Universal History of Iniquity\u003c\/i\u003e through his immensely influential collections \u003ci\u003eFicciones\u003c\/i\u003e and \u003ci\u003eThe Aleph\u003c\/i\u003e, the enigmatic prose poems of \u003ci\u003eThe Maker\u003c\/i\u003e, up to his final work in the 1980s, \u003ci\u003eShakespeare’s Memory\u003c\/i\u003e—Jorge Luis Borges returned again and again to his celebrated themes: dreams, duels, labyrinths, mirrors, infinite libraries, the manipulations of chance, gauchos, knife fighters, tigers, and the elusive nature of identity itself. Playfully experimenting with ostensibly subliterary genres, he took the detective story and turned it into metaphysics; he took fantasy writing and made it, with its questioning and reinventing of everyday reality, central to the craft of fiction; he took the literary essay and put it to use reviewing wholly imaginary books.\u003cbr\u003e\u003cbr\u003e Bringing together for the first time in English all of Borges’s magical stories, and all of them newly rendered into English in brilliant translations by Andrew Hurley, \u003ci\u003eCollected Fictions\u003c\/i\u003e is the perfect one-volume compendium for all who have long loved Borges, and a superb introduction to the master’s work for all who have yet to discover this singular genius.\u003cbr\u003e\u003cbr\u003eFor more than seventy-five years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 2,000 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.Collected Fictions\u003cb\u003eA Universal History of Iniquity (1935)\u003c\/b\u003e\u003cbr\u003e Preface to the First Edition\u003cbr\u003e Preface to the 1954 Edition\u003cbr\u003e The Cruel Redeemer Lazarus Morell\u003cbr\u003e The Improbable Impostor Tom Castro\u003cbr\u003e The Widow Ching - Pirate\u003cbr\u003e Monk Eastman, Purveyor of Iniquities\u003cbr\u003e The Disinterested Killer Bill Harrigan\u003cbr\u003e The Uncivil Teacher of Court Etiquette Kôtsuké no Suké\u003cbr\u003eHakim, the Masked Dyer of Merv\u003cbr\u003eMan on Pink Corner\u003cbr\u003eEt cetera\u003cbr\u003eIndex of Sources\u003cbr\u003e\u003cp\u003e\u003cb\u003eFictions (1944) \u003c\/b\u003e\u003cbr\u003e \u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Garden of Forking Paths (1941) \u003c\/b\u003e\u003cbr\u003e Foreword\u003cbr\u003eTlön, Uqbar, Orbis Tertius\u003cbr\u003eThe Approach to Al-Mu'tasim\u003cbr\u003ePierre Menard, Author of the Quixote\u003cbr\u003eThe Circular Ruins\u003cbr\u003eThe Lottery in Babylon\u003cbr\u003eA Survey of the Works of Herbert Quain\u003cbr\u003eThe Library of Babel\u003cbr\u003eThe Garden of Forking Paths\u003c\/p\u003e\u003cp\u003e\u003cb\u003eArtifices (1944) \u003c\/b\u003e\u003cbr\u003e Foreword\u003cbr\u003eFunes, His Memory\u003cbr\u003eThe Shape of the Sword\u003cbr\u003eThe Theme of the Traitor and the Hero\u003cbr\u003eDeath and the Compass\u003cbr\u003eThe Secret Miracle\u003cbr\u003eThree Versions of Judas\u003cbr\u003eThe End\u003cbr\u003eThe Cult of the Phoenix\u003cbr\u003eThe South\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Aleph (1949) \u003c\/b\u003e\u003cbr\u003e The Immortal\u003cbr\u003eThe Dead Man\u003cbr\u003eThe Theologians\u003cbr\u003eStory of the Warrior and the Captive Maiden\u003cbr\u003eA Biography of Tadeo Isidoro Cruz (1829-1874)\u003cbr\u003eEmma Zunz\u003cbr\u003eThe House of Asterion\u003cbr\u003eThe Other Death\u003cbr\u003eDeutsches Requiem\u003cbr\u003eAvveroës' Search\u003cbr\u003eThe Zahir\u003cbr\u003eThe Writing of the God\u003cbr\u003eIbn-Hakam al-Bokhari, Murdered in His Labyrinth\u003cbr\u003eThe Two Kings and the Two Labyrinths\u003cbr\u003eThe Wait\u003cbr\u003eThe Man on the Threshold\u003cbr\u003eThe Aleph\u003cbr\u003eAfterword\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Maker (1960) \u003c\/b\u003e\u003cbr\u003e Foreword: For Leopoldo Lugones\u003cbr\u003eThe Maker\u003cbr\u003eDreamtigers\u003cbr\u003eA Dialog About a Dialog\u003cbr\u003eToenails\u003cbr\u003eCovered Mirrors\u003cbr\u003eArgumentum Ornithologicum\u003cbr\u003eThe Captive\u003cbr\u003eThe Mountebank\u003cbr\u003eDelia Elena San Marco\u003cbr\u003eA Dialog Between Dead Men\u003cbr\u003eThe Plot\u003cbr\u003eA Problem\u003cbr\u003eThe Yellow Rose\u003cbr\u003eThe Witness\u003cbr\u003eMartin Fierro\u003cbr\u003eMutations\u003cbr\u003eParable of Cervantes and the Quixote\u003cbr\u003eParadiso, XXXI, 108\u003cbr\u003eParable of the Palace\u003cbr\u003eEverything and Nothing\u003cbr\u003eRagnarök\u003cbr\u003eInferno, I, 32\u003cbr\u003eBorges and I\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMuseum \u003c\/b\u003e\u003cbr\u003e On Exactitude in Science\u003cbr\u003eIn Memoriam, J.F.K.\u003cbr\u003eAfterword\u003c\/p\u003e\u003cp\u003e\u003cb\u003eIn Praise of Darkness (1969) \u003c\/b\u003e\u003cbr\u003e Foreword\u003cbr\u003eThe Ethnographer\u003cbr\u003ePedro Salvadores\u003cbr\u003eLegend\u003cbr\u003eA Prayer\u003cbr\u003eHis End and His Beginning\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBrodie's Report (1970) \u003c\/b\u003e\u003cbr\u003e Foreword\u003cbr\u003eThe Interloper\u003cbr\u003eUnworthy\u003cbr\u003eThe Story from Rosendo Juárez\u003cbr\u003eThe Encounter\u003cbr\u003eJuan Muraña\u003cbr\u003eThe Elderly Lady\u003cbr\u003eThe Duel\u003cbr\u003eThe Other Duel\u003cbr\u003eGuayaquil\u003cbr\u003eThe Gospel According to Mark\u003cbr\u003eBrodie's Report\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Book of Sand (1975) \u003c\/b\u003e\u003cbr\u003e The Other\u003cbr\u003eUlrikke\u003cbr\u003eThe Congress\u003cbr\u003eThere Are More Things\u003cbr\u003eThe Sect of the Thirty\u003cbr\u003eThe Night of the Gifts\u003cbr\u003eThe Mirror and the Mask\u003cbr\u003e\"Undr\"\u003cbr\u003eA Weary Man's Utopia\u003cbr\u003eThe Bribe\u003cbr\u003eAvelino Arredondo\u003cbr\u003eThe Disk\u003cbr\u003eThe Book of Sand\u003cbr\u003eAfterword\u003c\/p\u003e\u003cp\u003e\u003cb\u003eShakespeare's Memory (1983) \u003c\/b\u003e\u003cbr\u003e August 25, 1983\u003cbr\u003eBlue Tigers\u003cbr\u003eThe Rose of Paracelsus\u003cbr\u003eShakespeare's Memory\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eA Note on the Translation\u003cbr\u003eAcknowledgments\u003cbr\u003eNotes to the Fictions\u003c\/p\u003e\u003cb\u003eA \u003ci\u003eNew York Times\u003c\/i\u003e Notable Book\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e “A marvelous new collection of stories by one of the most remarkable writers of our century.” \u003cb\u003e—\u003ci\u003eThe New York Times\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e“The major work of probably the most influential Latin American writer of the century.” \u003cb\u003e—\u003ci\u003eThe Washington Post\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e \u003c\/b\u003e“An unparalleled treasury of marvels . . . Along with a tiny cohort of peers, and seers (Kafka and Joyce come to mind), Borges is more than a stunning storyteller and a brilliant stylist; he’s a mirror who reflects the spirit of his time.” \u003cb\u003e—\u003ci\u003eChicago Tribune\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“This book is a real feast, prepared by one of the greatest modern confectioners of sheer fiction.” \u003cb\u003e—\u003c\/b\u003e\u003ci\u003e\u003cb\u003eThe Seattle Times\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e “An event worth of celebration . . . Hurley deserves our enthusiastic praise for this monumental piece of work.” \u003cb\u003e—\u003c\/b\u003e\u003ci\u003e\u003cb\u003eSan Francisco Chronicle\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e“Beneath Borges’s paradoxical twists and inverted spells there is the deeper, ineffably human magic of all great literature.”\u003cb\u003e —\u003c\/b\u003e\u003ci\u003e\u003cb\u003eLos Angeles Times\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e “Borges is the most important Spanish-language writer since Cervantes. . . . To have denied him the Nobel Prize is as bad as the case of Joyce, Proust, and Kafka.” \u003cb\u003e—Mario Vargas Llosa\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e“Though so different in style, two writers have offered us an image for the next millennium: Joyce and Borges. The first designed with words what the second designed with ideas: the original, the one and only World Wide Web. The Real Thing. The rest will remain simply virtual.”\u003cb\u003e —Umberto Eco\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e “It is a deep pleasure to read the \u003ci\u003eCollected Fictions\u003c\/i\u003e of Borges in Andrew Hurley’s capable new version. Old favorites like ‘Death and the Compass’ and ‘The Immortal’ are revivified by Hurley. There is also a particular satisfaction in having all of the stories in one volume.”\u003cb\u003e —Harold Bloom\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e “What are we to make of him? The economy of his prose, the tact of his imagery, the courage of his thought are there to be admired and emulated. In resounding the note of the marvelous last struck in English by Wells and Chesterton, in permitting infinity to enter and distort his imagination, he has lifted fiction away from the flat earth where most of our novels and short stories still take place.”\u003cb\u003e —John Updike\u003c\/b\u003e\u003cbr\u003e\u003cb\u003e \u003c\/b\u003e\u003cbr\u003e“When I read a good book, I sometimes like to think I might be capable of writing something similar, but never, in my wildest dreams, could I write anything that approaches the level of cleverness and intellect and madness of Borges. I don’t think anyone could.” \u003cb\u003e—Daniel Radcliffe\u003c\/b\u003e\u003cp\u003e\u003cb\u003eJorge Luis Borges \u003c\/b\u003ewas born in Buenos Aires in 1989 and was educated in Europe. One of the most widely acclaimed writers of our time, he published many collections of poems, essays, and short stories before his death in Geneva in June 1986. In 1961 Borges shared the International Publisher’s prize with Samuel Beckett. The Ingram Merrill Foundation granted him its Annual Literary Award in 1966 for his “outstanding contribution to literature.” In 1971 Columbia University awarded him the first of many degrees of Doctor of Letters, \u003ci\u003ehonoris causa \u003c\/i\u003e(eventually the list included both Oxford and Cambridge), that he was to receive from the English-speaking world. In 1971 he also received the fifth biennial Jerusalem Prize and in 1973 was given one of Mexico’s most prestigious cultural awards, the Alfonso Reyes Prize. In 1980 he shared with Gerardo Diego the Cervantes Prize, the Spanish world’s highest literary accolade. Borges was Director of the Argentine National Library from 1955 until 1973. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eAndrew Hurley \u003c\/b\u003e(editor\/translator) is a translator of numerous works of literature, criticism, history, and memoir. He is professor emeritus at the University of Puerto Rico.\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\u003cb\u003e\u003cu\u003eContents\u003c\/u\u003e\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e \u003cb\u003eA UNIVERSAL HISTORY OF INIQUITY (1935)\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Preface to the First Edition \u003cbr\u003e Preface to the 1954 Edition\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eThe Cruel Redeemer Lazarus Morell \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Improbable Impostor Tom Castro \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Widow Ching—Pirate \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eMonk Eastman, Purveyor of Iniquities \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Disinterested Killer Bill Harrigan \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Uncivil Teacher of Court Etiquette Kôtsuké no Suké \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eHakim, the Masked Dyer of Merv \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eMan on Pink Corner \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eEt cetera\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Index of Sources\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eFICTIONS (1944)\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e THE GARDEN OF FORKING PATHS (1941) \u003cbr\u003e  \u003cbr\u003e Foreword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eTlön, Uqbar, Orbis Tertius\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Approach to Al-Mu’tasim\u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePierre Menard, Author of the \u003ci\u003eQuixote \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Circular Ruins \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Lottery in Babylon \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Survey of the Works of Herbert Quain\u003c\/b\u003e \u003cbr\u003e \u003cb\u003eThe Library of Babel \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Garden of Forking Paths \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e ARTIFICES (1944) \u003cbr\u003e  \u003cbr\u003e Foreword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eFunes, His Memory \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Shape of the Sword \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Theme of the Traitor and the Hero Death and the Compass \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Secret Miracle \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThree Versions of Judas \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe End \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Cult of the Phoenix \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe South\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eTHE ALEPH (1949) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Immortal \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Dead Man \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Theologians \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eStory of the Warrior and the Captive Maiden \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Biography of Tadeo Isidoro Cruz (1829–1874) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eEmma Zunz \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe House of Asterion \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Other Death \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eDeutsches Requiem \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eAverroës’ Search \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Zahir \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Writing of the God\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eIbn-Hakam al-Bokhari, Murdered in His Labyrinth \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Two Kings and the Two Labyrinths \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Wait \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Man on the Threshold \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Aleph \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Afterword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eTHE MAKER (1960) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e Foreword: For Leopoldo Lugones \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eThe Maker \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eDreamtigers \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Dialog About a Dialog \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eToenails \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eCovered Mirrors \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eArgumentum Ornithologicum \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Captive \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Mountebank \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eDelia Elena San Marco \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Dialog Between Dead Men \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Plot \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Problem \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Yellow Rose \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Witness \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eMartin Fierro \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eMutations \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eParable of Cervantes and the \u003ci\u003eQuixote \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eParadiso\u003c\/i\u003e, XXXI, 108 \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eParable of the Palace \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eEverything and Nothing \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eRagnarök \u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e\u003ci\u003eInferno\u003c\/i\u003e, I, 32 \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eBorges and I\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e MUSEUM \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eOn Exactitude in Science \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eIn Memoriam, J.F.K. \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e Afterword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eIN PRAISE OF DARKNESS (1969) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e Foreword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eThe Ethnographer \u003c\/b\u003e\u003cbr\u003e \u003cb\u003ePedro Salvadores \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eLegend \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Prayer \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eHis End and His Beginning \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e \u003cb\u003eBRODIE'S REPORT (1970) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e Foreword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eThe Interloper \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eUnworthy \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Story from Rosendo Juarez \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Encounter \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eJuan Murafta \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Elderly Lady\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Duel \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Other Duel \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eGuayaquil \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Gospel According to Mark \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eBrodie’s Report\u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eTHE BOOK OF SAND (1975) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Other \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eUlrikke \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Congress \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThere Are More Things \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Sect of the Thirty \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Night of the Gifts \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Mirror and the Mask \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e“Undr”\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eA Weary Man's Utopia \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Bribe \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eAvelino Arredondo \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Disk \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Book of Sand \u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e Afterword \u003cbr\u003e  \u003cbr\u003e \u003cb\u003eSHAKESPEARE’S MEMORY (1983) \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eAugust 25, 1983 \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eBlue Tigers\u003c\/b\u003e\u003cbr\u003e \u003cb\u003eThe Rose of Paracelsus \u003c\/b\u003e\u003cbr\u003e \u003cb\u003eShakespeare’s Memory \u003c\/b\u003e\u003cbr\u003e \u003cb\u003e \u003c\/b\u003e\u003cbr\u003e A Note on the Translation \u003cbr\u003e Acknowledgments \u003cbr\u003e Notes to the Fictions","brand":"Penguin Books","offers":[{"title":"Default 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