Para las seis cuerdas
Buenos Aires: Emecé, 1998. third edition. Paperback. 76p., illus. Near Fine in Wraps. Item #858
From Borges' prologue:
All reading implies collaboration and almost complicity. In Faust, we must admit that a gaucho can follow the argument of an opera sung in a language he does not know; in the Martín Fierro, a wave of bravado and complaining, justified by the political purpose of the work, but completely unrelated to the nature suffered by the countrymen and the cautious manners of the payador. In the modest case of my milongas, the reader must supply the music. absent by the image of a man who hums, on the threshold of his vestibule or in a warehouse, accompanying himself with the guitar. The hand lingers on the strings and the words count less than the chords. I wanted to avoid the sentimentality of the inconsolable "tango-song" and the systematic handling of lunfardo, which infuses an artificial air to the simple songs. As far as I know, no other clarification requires these verses.