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Heralded as one of the literary masterpieces of the twentieth century

Table of Contents

• Introduction
• Part I
  • To Leopoldo Lugones
  • The Maker
  • Dreamtigers
  • Dialogue on a Dialogue
  • Toenails
  • The Draped Mirrors
  • Argumentum Ornithologicum
  • The Captive
  • The Sham
  • Delia Elena San Marco
  • Dead Men's Dialogue
  • The Plot
  • A Problem
  • A Yellow Rose
  • The Witness
  • Martin Fierro
  • Mutations
  • Parable of Cervantes and Don Quixote
  • Paradiso, XXXI, 108
  • Parable of the Palace
  • Everything and Nothing
  • Ragnarök
  • Inferno, I, 32
  • Borges and I
• Part II
  • Poem about Gifts
  • The Hourglass
  • The Game of Chess
  • Mirrors
  • Elvira de Alvear
  • Susana Soca
  • The Moon
  • The Rain
  • On the Effigy of a Captain in Cromwell's Armies
  • To an Old Poet
  • The Other Tiger
  • Blind Pew
  • Referring to a Ghost of Eighteen Hundred and Ninety-Odd
  • Referring to the Death of Colonel Francisco Borges (1835-1874)
  • In Memoriam: A. R.
  • The Borges
  • To Luis de Camoëns
  • Nineteen Hundred and Twenty-Odd
  • Ode Composed in 1960
  • Ariosto and the Arabs
  • On Beginning the Study of Anglo-Saxon Grammar
  • Luke XXIII
  • Adrogué
  • Ars Poetica
  • Museum
    • On Rigor in Science
    • Quatrain
    • Limits
    • The Poet Declares His Renown
    • The Magnanimous Enemy
    • The Regret of Heraclitus
• Epilogue
• Appendix: Some Facts in the Life of Jorge Luis Borges

About the Author

First published in Buenos Aires in 1960 as El Hacedor, Dreamtigers was translated into English by Mildred Boyer, professor emerita of romance languages at the University of Texas at Austin, and the poet Harold Morland. The late Miguel Enguídanos, who was Centennial Professor of Spanish at Vanderbilt University, wrote the introduction to this volume, which is enhanced by woodcuts by the renowned artist Antonio Frasconi.

Reviews

One feels in Dreamtigers a calm, an intimation of a truce, a tranquil fragility. Like so many last or near-last works... Dreamtigers preserves the author's life-long concerns, but drained of urgency; horror has yielded to a resigned humorousness
*New Yorker*