Abstract
Much of the critical work on has been blinded by the notion that Borges is synonymous with irrealidad.1 The frequency and density of references to politics, history and everyday life have been glossed over or, even worse, neutralized by the common assertion that such references are part of a literary game. Borges's complex discussions of time have been reduced in much of the criticism to notions of circularity, though his major writings on the subject (including Nueva refutacion del tiempo, El jardin de senderos que se bifurcan and El milagro secreto) assert that ideas of circular and nonlinear time are pleasant metaphysical diversions but that those who interest themselves in these notions are themselves mortal.2 Similarly, the constant references by to
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