[000:00:00;00] allegories, i decided that this needed to be shown to the world, well, you are playing komitas, komitas today, i can sing akp kvete let’s imagine that you are catholicos, and in front of you stands an eleven-year-old thin boy from a distant small turkish

village, and his name is kometas

, here he sings, govarek sarachan, կեշմարթու օր արեւը, սեւ հողի տակով արենք, ով արեք սարեր ջան , well, we need to feel the beauty and height of this creativity, but we will not violate the order that you have planned, especially since we have kaubotona nani already i’m ready to make the next masterpiece, i ask you to further immerse us in this world of high

music. հովերի հետ եք, ծաղիկ փնջելով սարվորի հետ եք, սեւ ձեյուս վրա, ձեր գյո the եր աղջե ինչ մեխակ, սիրո կրակ բեր, սարի

սիրուն իրար, սարի մեխակ բեր, աղ չէ - զերդ թացել, հազար մի ծաղկի մեջ ես մեծացել, ծաղկած սողերով մազերդ թաց րել, մազերիդ բույրը հեռվից է գալիս, զեբյուր է բերում, սրտիս է տալիս, ս առի սիրուն յար, սարի մեխակ բեր, աղ չէ, ինչ

, սիրո կրակ

': սիրո կրակեր սարի սիրունյար, սարի մեք բեր, աղ չէ, ինչ մեկ, սիրո կրակ, dear friends, this is an anthropologist’s podcast on the first channel, our guests are naredgen comrades, do you play constantly or not , and we have, let’s say, the core of the lineup, but we believe that we have a replenishment... very necessary in the form of gold, for example, with which we have been in the past we met a year ago, and we don’t often play with this line-up, i must say that, of course, you came up with all this genius and

you are doing, god willing, i hope that this performance will attract more and more fans to you, what will happen now, now there will be a kind of, i call it armenian meditation, this work is performed under the tonic, that is, there is no clear rhythmic pattern in the source code, and we were once invited to a psychotherapeutic ecstasy, when people experience emotions through dance, experience some kind of unclosed gestalts, perhaps, and i decided that we needed a beautiful rhythmic pattern, like a mantra, probably yes, so that it would sound, and maybe this is a kind of prayer, and gusana shot, when he wrote this beautiful poetry and music. he, as he describes the phenomenon of nature, when the moon knocks on his window and he says that i am not sleeping, but my sleep , my peace - this is the song, that’s what is sung in this

beautiful music, and i think that it is quite meditative , we’ll try it with you now, and we, dear viewers, will see what nani will depict

on her canvas.

?????? իմ սիրածի շոնել, ողջ աշխարհը

- է երկնքում։ yes, but here with every new, so to speak, turn, new and new advantages are revealed, this is nara gevoryan, tell me, when did you realize that you sing better than anyone around you in kindergarten: sadu, and i honestly say, i never thought that way, as one wise musician told me, you should always be a little bad, you should know about this, well, without fanaticism, of course, in our family, for example, there was no such idea that i would be a musician, i'm not an accomplished lawyer at all, but well, we know this, any mother in the world will say, so, so, put my law diploma here, and then go to the suzuki theater, that’s where this gerard is, you know, go, go, first... here the diploma, and why

lawyer, because lawyers and party leaders live the best, but it seemed to me that singer-musicians are happier, for some reason , so i successfully left the first year, of course, dear friends, it’s a pleasure to see how the armenian vine of jazz bears fruit , the one i mentioned, malkhas gave me a very interesting selection of 75 years armenian soviet jazz, gentlemen, what musicians there were on this land, and rhythm is in their blood. this is in the 75 years of this jazz, these are not toys, and the main thing is that under the soviet union it was possible, everyone is not allowed, armenians are allowed, so orbelian is the last name with gold that should be on the pediment of domestic jazz, and i am also inspired by tigran asyan, this is a famous pianist who plays in the ethno-jazz style and teaches at the beckley school, and we are inspired by this artist and beauty. listen, if we don’t give karapetyan now

play, he will be offended, because we are talking about other pianists, but nothing about him , he is a real philosopher, so he passes everything through his very rich spiritual prism, so now he will fully express himself in this compiment, dear

friends. information ռրու բալայի է, նայվածքը սիրուն աղջիկ գլխիս դարդ ու բալայե, եղնիկի պե ս bed ի պես ծուռ մի աշ,

սիրուն ': լավ կսազե, հագածդ նուրբ թա, խելքս գլխիցս հանել է, քեզ հետ ասել, խոսելը, եւ ծավ է, եւ մուրազ է, եղնիկի պես, ծուռ ִի աշե , սիրուն ջան, ջահել սիրտս դու մի մաշե, սիրուն ջան, եղնիկի պես ծո ւռ մի աշէ, սիրուն ջան, ջահել

սիրտս, դու միմ oh, well, listen, this is the avant-garde drummers to finish the composition, now everyone who always goes to southern restaurants has heard something familiar in this song, in particular, sirundan, does this mean beauty? yes, in russian it certainly sounds a little different, probably, but nevertheless, it’s beautiful. we immediately, as

always with restaurants, immediately thought, here now there will be all the sirun, nan where is the notebook with orders, now we will try, րով, ես քեզ սիրեցի, բայց դու անինավ, դավաճանեցիր, մի անմեղ սիրո': ես քե զ սիրեցի, բայց դու

անիրան , well, this is the very theme of love, written by the day, well, now naturally, the first channel will be flooded with letters from ladies, for someone this handsome groom, every evening a lawyer will sing this, without five without four courses, without four courses, and more with such caring relationships and beauty, and i i think so, and feminine, the most important human beauty, his song, the armenian song, jazz, of course, this is the science of beauty, and of course, this is an amazing voice, narek gevargian, of course, will remain in our memory for a long time, dear friends, thank you for your attention, but we need to remain in the memory of our viewers today, something like that, that is not some kind of harmonic... notes, killer, and what is there, well, come on, anyway, the beauty of armenian

music awaits you , waiting for you in armenia, in the monasteries, in ochmeadin, of course, you listen to the music, but let’s end today on a cheerful note, and we’ll see what our dear nani will now draw for this , so we’ll see, dear friends, success to you in everything you do, brilliant musicians, and you’re brilliant listeners, if now do you hear me, all the best, this is ours... old man and comrade, all the best, well, pariboychina. աչքերը նուր ու խումար է, երեկ օրվա լույսնի նման ունքերը կեր ու կամա

ր է, նուպարի բոյը չին արել, աչքերը նուշում արել, երեք օրվա լույսնի նմ ան հունքերը գեր ու գամարե, նու բարի պոյը չի արել, աչքերը նուշում արել, երեկ օրվա լույսնի նման ունքերը գերու կամարել, երեկ օրվա ով որ տbedding by

by the more աչքերը նուր ու կումարէ, երեք օրվա լույսնի նման ունքերը գեր ու կամա րե, նու պարիբոյը չի

արել, աչքերը նուշուղում արել, երեք օրվա լույսնի ն ման, ումերը գեր ու կամարե, երեկ օրվա լույսնի նման ունքերը գեր ու կամարե, երեկ օրվա լույսնի նման ունքեր this is a must-read podcast, i ’m golaana batnikova, my guest today is natalia ushey, musician, lead singer of the

melnitsa group, and we’re discussing argentinean writer jorge luis borgis, and his image of the world as a library. natasha, hello, hello, please tell me, here’s something about tovisa, the mill group, it ’s probably still associated with some kind of... fantasies, maybe with lastelin of the rings, biowulf, irish sagas, then suddenly you choose the theme of borhis, and it seems that this is unexpected, yes, but if you know you well, you are a candidate of philological sciences, a linguist, in general, the worlds of borhis, they contain all possible plots, and please tell us i’ll tell you what you have in common with this writer, why you love him, yes, i ’ll tell you why... i chose this particular writer for our meeting, you know, if i had chosen some kind of scandinavian or

celtic studies, i would speak here as a professional in this topic, i would be a lecturer this is natalya andreevna, a professor at the department, now we’ll talk about registers in irish sagas, blah blah blah, well , this is probably not very interesting for a podcast about literature, so i decided that i probably want to be a non-specialist in this case , not a teacher, but professional readers, that is, this is what i personally am interested in reading, what makes me happy as a reader of literature, especially since, as you quite rightly noted, i am not a literary scholar, and especially not a spanish scholar, i am a linguist. and therefore, just like in medical systems of all kinds, i say, hello, i’m natasha, i’m a professional patient, today i want to be a professional reader, but borhis himself was a professional reader, he somehow emphasizes this, in his essays, that his main role is reader, this is exactly what is close to me, because until the end of his life

he is absolutely in love with the process of reading, this is very visible, even in those essays that he read when he was already completely blind, it is very clear how occupied he is in general in principle, the very creation of the text is the relationship text and language, since borhis was a polyglot, he is terribly interested in precisely this babylonian confusion of languages, which can be ordered in the notorious hexagons of the babylonian library, somehow organized or disorganized, remember, he has a wonderful moment in one of the short stories, he remembers when the boys, when the books were closed for the night, he thought that the letters in them were scattered and mixed, he was very surprised that yes, well, let’s tell the viewer a little who borhis is, but in general terms, this is a writer who lived in argentina, wrote in spanish, although he knew many other languages, yes, he worked

somewhere from the thirties to the eighties, centuries, he lived a very long, fruitful, cool life for a writer, and despite the fact that he became blind during his life and in general, it would seem that this should have complicated his work, but no, he continued to work and created such wonderful worlds and images of a labyrinth or a world as a library, well, it’s interesting that he worked from a small form, this is a man , who did not write a single novel, although he was nominated numerous times for the nobel prize. i understand him, because they also regularly ask me, natalia , why don’t you write a rock opera, i say, you know, i ’m not my topic, big form, big form, this is not my topic, that is, even if i try for such a thing, i will express everything i want to say within the first two numbers of the arias and characters, and then i will get bored, i will give it all up, because borhis’s prose is so rich, each story contains something terribly

fascinating plot, detective even, these his short stories, and here we must definitely remember the writer whom borhis extremely loved and respected, this is, of course , edgar allan poe, well, yes, that is, he largely relies on poe, and also charades, like the stolen letter and the like, that is, borhis very much relies on po, but he continues this work , continues to bring this story to the absolute, as in the story about abenhakan, who died in his own labyrinth, it turns out that the killer is, in fact, the murdered one, this one here vizi said, who often in his, well, these charades, and puzzles, images are repeated, i even wanted to talk to you about this story, the garden of forking paths , which is dedicated to a labyrinth, probably the most powerful of his narrative ones, because until the very last moment we don’t understand

why, all the time, that is murder is not what it seems, he often has this plot, it seems to be a detective story, connected with a labyrinth, there with mirrors, yes, with the search for oneself, here it is interesting that after reading this garden of forking paths, i it finally worked out why borhis works with small forms, i realized that he himself created this labyrinth from text, and here too, that is, from short, repeating, similar plots, he created one. he makes a recursion, yes, he places mirrors in his labyrinth, which ultimately make it endless, it’s such a beautiful image and it’s so applicable to absolutely everything, we had a painting by maurice escher in our screensaver, well, it’s exactly the same, just escher is naturally visual, for him it happens in graphics, but for borhis it is happens in literature, but it is really similar

to the figurative world of borhis, so we took it. yes, this one, this tape, this one - the mobius motif , repeating recursions and so on, borhis was a man of encyclopedic memory, it seems to me that i know what his secret was, that's it... judging by that that he uses this labyrinth, he places some hooks in the labyrinth so that he himself does not get lost in this labyrinth, you know, he scatters crumbs, he scatters crumbs, yes, yes, yes, yes, yes, yes, yes, that is, he uses the classical technique of renaissance philosophy, this is a gnosiological technique, a technique for organizing consciousness, which is called the devil of reason, it was invented by such a cool thinker of english origin, raymond lolly, and he came up with just such a system: organizing knowledge, organizing memory, organizing those facts , which are not kept like in

sherlock holmes's trash attic, just like borhis in an endless labyrinth, where each borhis has an essay dedicated specifically to this raymond lulya, raymond lulya’s logical machine, that’s what it’s called, i tried to figure it out, but i honestly couldn’t understand how there are circuits, it requires a certain habit, to get right into this thing, that is, but when, when you, you really suddenly begin to understand, you understand how simple it is, how simple it is, that is, i use the palace of the mind , i have it, it’s quite strange, but there are also clues there, they are mostly visual, that is a certain image that refers to another image, to another image to a round image, just like uh... in borhis's concept of bondage, why is he interested in bondage at all, yes, this is a very important topic, he constantly figures out bondage, he

studied it, yes, yes, it is interesting to him, again, also as a tool for ordering, as a tool for studying the knowledge of language, that is, it is precisely this concept, the pentateuch of the torah as one gigantic, stretched out and expanded in all variants, the name of god, the idea... yes, the sepherod tree, which, i generally i really love this concept because it can be applied to any spiral or, well, spiral structure, from dante’s circles of hell to the dna spiral, well, you know, it seems to me that she specially came with a ring in the form of a torus, the ring is beautiful, magical, that is, this is exactly the book of books, that is, the archetype of the book, prisoner in a ring, in borhis... there is a game here, and it seems to me that the game is also important for you, this can be seen in your work, but this is a kind of game of meanings, games of words, games of words, a very important image,

when the whole is no more than its components parts, that is, when in one there are many, in a certain unity, yes, but this unity is no more than each of its component parts, that is , what she called is connected precisely with his love for small forms. precisely that he must contain all these component parts, fit them into a very laconic form, and, you know , what’s interesting is this concept of the game, which he, of course, always has, we see how he he's having a blast, that's just how he takes his labyrinth like that, turns it over, and here's the inside out, and he's like wow, how cool everything is, and we know writers who continue to follow the behests of jorge our luiss and what kind of relationship they had in general, that is, they were somehow connected in real life, i don’t know if they were connected in real life, but they are without

a doubt each they knew a friend, that is, without a doubt they knew, and you see, here it turns out to be an absolutely wonderful writer ’s greetings, i adore umbert eco for this, that he is in the name of rose, he has this monstrous blind villain, the librarian, the monk jorge, who denies the creature . but if we dig further, we realize that thus, umberta eco takes off her beautiful italian hat and says hello to borhis, because here, of course, behind borhis stands his character overoes, who in medieval cordoba writes a treatise he encounters, yes, an arab doctor, teacher, philosopher, he encounters just aristotelian concepts of tragedy and comedy, and he doesn’t understand them, poor fellow, uh-huh, that is, in general, i was looking for everything that

borhis has no sense of humor, no, i think that he just showed in such a crooked way, that he really appreciates borhis's playing, uh-huh, and that in this way, in general, overoes, whom borhis sees in the mirror, in which he continues to believe, he will at some point understand what comedy is, but in the monastery... burns, burns and handwritten, the monk jorja himself burns , well, this is a separate story, but if the world is a library, this is our creativity, there are probably manuscripts there , when we don’t know whether this will become a book, whether it will enter the world library, yes, these manuscripts are on fire, natasha, i, as a convinced neoplatanian, believe that manuscripts burn, but of course shadows remain on the walls caves, that is, our work is for eternity, and the manuscripts are burning, no matter what woland says in bulgakov, well, let's listen to the song the manuscript

mill. now is the time of fire, don’t let me in, i’m like a rusty ascetic, 3,000 years old, who hasn’t written poetry, but that invisible one is waiting, carefully, like a cat, touching the milk. oh, midnight double, he clung to the lamp, according to my strictures, my log, a short-lived beast walks, i keep it in the pit, this sacrifice to the fire, until the door was closed, the demons are burning all around, they didn’t tell you, but they

tell the truth, and don't change ours back, oh my friends, oh my enemies, how beautiful it is to cut a residential pen, vespers the silver, the manuscripts don’t burn, they still burn, you should have seen. this act, the manuscripts say, they didn’t tell you, but they really say it, and don’t take a step back, oh my friends, oh my enemies, how beautifully they

burn, the manuscripts burn. and my beloved ones, they burn so gloriously, like a ripe pomegranate, oh, my friends, oh my enemies, how beautifully they burn, rukapiga. you are paramonina, yes, it’s me, your wife serafima vladimirovna, i came to you from

st. petersburg, excuse me. i see this woman for the first time, no seraphim for me, vladimir, i don’t know, i’m not expecting anyone from st. petersburg, it’s a deception , that’s a deception, renounced, reptile, on the centenary of alexander alov, on saturday on... this podcast is a must-read, i’m agla nabadnikova, i have visiting natalie oshey, musician, lead singer of the melnitsa group, candidate of philological sciences, we are talking about jorgelus borhis, you know, borhis, he , in my opinion, works as a collage artist, that is , he takes some of these short- form caresses , he has an excellent knowledge of mythology,

an excellent knowledge of various subjects, it’s clear that the man read all his life, but he didn’t have an active life, his whole life was spent in books, yes, but he actually was also the director of the national library, yes, that is, he is a professional librarian, a great librarian, you can, he’s my understand , he is my archetypal librarian, it seems to me that he gave birth to a lot of waves after himself in pop culture, in popular culture , that is, it would seem, writers, he is a lot, you can fold a tender blanket until you lose your pulse, but for now you have won't appear some kind of magic thread, it won’t become a magical plane , that is, let’s say, paolo coelho, who can be considered borgis’s epigot, he doesn’t succeed at all, listen, he even took the title of the story of the very famous aleph, and wrote such a novel,

which is roma, yes, but this is epigonism, in the worst sense, i’ll be honest, but you know , i read this novel by paula aleph, because it was mentioned there by my friend, in general, on this trip to russia, he... it turned out that this alif, which he describes as the state in which he falls into the past, i’m talking about pavlo, yes, here i’m reading the original source , borhis’s story itself, where everything is much more complicated, that is, this is a person who finds himself at the point where all time lines converge, it’s much more complicated this image. and here, you see, we can say that borhis is a creative writer who exists in a four-dimensional world, that he not only has our three dimensions, but he also has time, that is, he

operates with time here and there, namely so he has this temporary intersection of diverging paths, this chinese descendant is mentioned there , that a book and a labyrinth are one and the same thing, yes, that is, he created labyrinths and created a book, it turned out that they are one and the same , and it’s very interesting there, this doctor asks him a question, he asks this chinese , and this descendant, what is the word in his great-grandfather, that the word time is not mentioned there, this means that the whole labyrinth is dedicated to time and its different layers , that is

, there is actually this key, yes, that is, this just like the tetragramaton on the golem’s forehead, yes, for the golem to work, this is exactly what you talk about in the lecture, for the golem to work, it must have it. if, accordingly, the tzaddik erases one of the letters of this word from the golem’s forehead, it will turn into another, like the word emet, truth turns into met, that is, death and the golem crumbles into dust, that is, control over the golem is also in the right word and the right letters, it’s this opportunity to work with letters back and forth, that is, write, erase, write, erase, it’s absolutely... some kind of the amazing, limitless control over dead matter that the jewish acquires, it seems to me that for borhis the text is living matter, yes, yes, of course, of course, and in no way static, constantly changing, because

the interpretation of the text, even despite the fact that its literal image may be fixed, the interpretation of the text will be different in different centuries. for us now there are superstructures happening, that we are from the heights of our well-educated cordovan arabs, yes, from the heights of postmodernism, that is, we are succeeding the third, fourth, sixth superstructures, all these additional meanings, additional emotions that we invest not only in relation to the text, but in relation to the author who wrote, this one is just postmodern, just to-to-to-too- tu-tu-tu-tu-tu-tu, and just the next steps in one of the stairs of the labyrinth appear, borhis, it seems to me, influenced...' on costaneda, because in general the form itself, you know, i want to mention that , that when borhis began to work, it was an innovative form, that in cinema is called a documentary, that is, it is a documentary film, but it is completely imitated, that is, in fact , it is an artistically created space

that imitates documentary, this documentary that borhis imitates, absolutely magnificently, yes, that is, we do not understand whether it was is it really, are all these people really, his consciousness, we don’t understand this, but it’s superbly imitated, every story has a commentary, from these comments you don’t understand, really, that’s all came up with it, or yes, or he really tells the stories of his own life, slightly flavored with this magic of time, yes, yes, well, with costaneda, this is this form of documentary, and conversations with the magician, this is the form. he clearly seems to me to have drawn it from uarhisa too, and i, you know, i recently read orkhl’s philosophy of indiorkhla and there are a lot of u’ such an image as mirrors, that orkhl loves a space in which there are many

mirrors, and a mirror is a very important topic, that is, even in a labyrinth, a person eventually comes to a mirror, that is, if he goes through a labyrinth, he comes to the mirror and meets with himself, and the overoste, who looks in the mirror and disappears and maybe even disappeared, is all that, as if when he begins to learn the essence of things, he disappears from the mirror , tell me, natasha? what do you think, that borhis became blind during his life, it is clear that he read a lot and he even writes himself that i actually did not live, yes, i don’t know what happened there in my country, because i spent all my time in the library, i spent everything time is in the books, but tell me, this is the fact that a person becomes blind and finds himself in this world of darkness, that is, this is some kind of forced disability, do you think this influenced borhis, because i have a feeling that they have become stronger his works, which he wrote already in the seventies, there they became more lyrical and precisely some kind

of introversive, more sharpened directly, he works in a short form, but he has very deep details, that is, for example, he writes that the person who is still approaching the sea, he has not yet seen this sea, but this sea is already splashing in his blood, this is a very accurate observation, yes, the image of the sea and the notorious platonic shadow, that is , you understand, a blind man, he has direct access to platonic. with shadows, yes, he doesn’t work with the visual, he already works with archetypes, with ideas, with eides, yes, of things, images of concepts, he works directly, but let’s talk more about this library of babel, as you imagine it, and in this world, he is a librarian, he is a systematizer , or he is a reader, or as you see it, then there is this world of hexagonal shelves, describe it, how you feel it, you understand, a hexagon, a hexagon is a honeycomb, that is, it is such a hive.

that’s why i have bees in my ears today, that too, that’s also not without reason, you’re all in signs, i’m all in signs, well , of course, if we’re talking about orhisra, then we need to operate with its tools, that is, operate with signs, yeah , so of course, i’m all in signs, essentially babylon, he has this babylonian library - it’s really a giant hive, that is, i can imagine that just as bees have an extremely complex hierarchy of creatures, that is, in the world of borhis's library, there should also be a completely phantasmogorical hierarchy, and i think that he is first and foremost a reader, an enthusiastic reader who rushes about these honeycombs, so from hexagon to hexagon, finds something for himself, something interesting, and it seems to me that in order to become a librarian of the babylonian library, you need to go a very long way, you need to go through initiation, starting with this you need to go through, yes, you need to enter some kind of luminal phase, and go through... initiation, that is, find this notorious tetragramaton or at least its

semblance, that is, jump to another stage, uh, development, then in front of you these hexagons will be ordered, open and will become permeable. borhis in the story, well, i don’t even know, it’s probably an essay, or maybe a story, four cycles, and he’s just trying to systematize, maybe all his knowledge, endless, y... he gives a theory that there are only four plot in world literature and we all repeat them endlessly, this is the plot, the capture of a fortress, and well, for example, the iliad, yes, and the return home, well, an example is also the classic odysseus, who returns to ithaca, and the search, this is probably a broader concept, but he gives an example of the bird

simurgh, which... any ancient plots, well, ancient epic literature, travel - this is all just a search, and the suicide of god, and the sacrifice of god, sacrifice, what we can see in the bible, and in narnia, there, well, in general, multi-pre-european myths, yes, that is, like a horse sacrifice, that is, a ritual. which accompanies the ascension of a king to the throne, that is, the sacrifice of a divine being is precisely the most initiatory thing, of all these wandering plots that reminds us, it is the leap to a new level that is the sacrifice of god, yeah, here again this one - like his name is abenhakan in his small labyrinth, that the killer of abenhak becomes abenhakan himself , yes, that is, he is this, that the one who was killed is him in fact, he was the creator of this whole murder by an imitator , that is, borhis very often repeats this plot,

and this is like an initiation thought out and influenced by the agent himself... on himself, that is, he brings himself into sacrifice, this is such a unique thing, but how would you hang yourself on the yasin tree, well, again, this is a wandering plot, so they wanted to stay away from scandinavian studies, it didn’t work out, i’m carrying 30,000 liters of raw milk, which is produced in russia, this is a parody highly productive, herd, by the way, he can eat your shorts, no... i like boots better, all these dresses that are in front of us are dresses of our own production, don’t worry, i’m not getting married yet, you make all this from russian raw materials, absolutely, we collect plants in the wild, god, what a beauty, very soon a new swallow model will be released on the routes of russian railways, and you and i will be one of the first to visit it,

a big premiere, our everything, i had great pleasure from communicating with creative, brave people who are passionate about their work, constantly. develop and change this world for the better on saturday on the first and always on 1tv.ru. this podcast is a must read. i'm agla and batnikov. my guest is natalya oshey, musician, lead singer of the melnitsa group, candidate of philological sciences. we 're talking about jorge luz borgis. natasha, as for borhis’s personal life, i was very touched by ulrik’s story, huh. from the book of sand, from the collection book of sand, where he meets a woman, they spend only one night together, there is also an obvious allusion to mythology, there the hero’s name is sigurt, and he’s also zikfred, that is, it all relates to scandinavian mythology, and the heroine’s name is ulrika, but on the one hand it looks simply like people who met in a hotel and spent time together

night the next morning they parted forever, yes, this onenight stand, and and but borhis represents it as such a failure in some other world, as if this meeting was very important, and it seems very romantic to me, it also plays the role of a mirror, she looks in the morning, i say, now we still couldn’t resist scandinavian studies, because precisely the fact that his hero is siegfried, dash sigurd, is very important, because of course borhis, with his amazing erudition, he knew that for the scandinavian hero it means something irresistible, not predetermined. this is fate, a woman is capable of changing fate, so it’s this ulrika , the mysterious one, who meets, she makes him look at just herself, from a completely different level, what you ’re talking about, this is initiation, this is a meeting, there is initiation, that is, it is a kind of

ananka, you know, which is through a tiny death, because initiation is always a small death. because he, well, of course, he is a native culture, and he, yes, yes, yes, yes, and he, these are precisely the indu-european mythological clichés , feels very subtly, maybe not even always consciously, of course, because it just mine, you know, when i see this king’s sacrifice, this very woman, fate, i think, good, how nice, miquerido, let’s talk about him personal life, he was, one might say, lonely all his life, that is, there are some women there, i see dedication to women in different stories, different women, that is, there were women, they inspired, but basically, yes, he lived his life rather with his family , there with his mother, especially since he became blind, but at the end of his life, after the death of his mother, when his mother let go of this

freudian story, he married his literary secretary, some wonderful... girls, that’s what you think, that’s him relationships with women are so strange, they somehow in his prose they reflected, how can i tell you, in my opinion he is not a love author, at all, no, he is not a love author at all, that is, for him it’s more likely that all the women in prose, well, uh, there in that jelly, yes, this is his beloved, she is already dead at the beginning, beatrice, beatrice, this is viterbo, that is, in principle, he has women in his stories, they appear as... ideas rather, oh, this is very interesting, yes, that is this is precisely the archetype of the dead lover, this is beatrice, with some of her countless past lovers, or this one ulrika, yes, the woman is destiny, who guides the hero through initiation, that is, it seems to me that all his female characters, yes, that all his female characters are not endowed with special emotionality, but endowed

with power, endowed with power, endowed with function, yes , endowed with time. function, as it were , which is obliged to lead the hero to the point in time and space in which borhis wants to see this hero, he never received the nobel prize, it’s very disappointing. that 25 times is almost too many times nominated and every time he didn’t get marquez all the time marquez bypassed at the turn marquez bypassed although i also love marquez very much, but i like borhis precisely because he gave birth to so many, that is, he seems to be a quiet librarian, you know, quietly and quietly, but he introduced very very many concepts were later introduced into popular culture, because i read it, i see murakami with the chronicles of a wind-up bird, where people fall into certain corridors and there is another time, there is a 1979 novel by

kristina kracht, where people end up in iran, during the revolution, they are saved by the fact that they find themselves in some magical slice of time, another, and they do some rituals, eat black food there, in general, borhis has this, he sets some programs like quantity. i’m reading now, yes, right now i’m reading alan moore’s absolutely gigantic novel jerusalem and alan moore’s too, you know, this is exactly the system of the principle of the inside out, the principle of mirrors, and the principle of traveling back and forth in time, that is, essentially jerusalem is deconstruction an english family saga, so downright classic, but a family saga, but we have each chapter, it takes place in its own time, it is non-linear and periodic due to penetration into the conventional underbelly of the city of northampton and characters of the

same family from different times have the opportunity meet each other and this, of course, is just such borhisianism, here it is stretched out into a book that is called longer than the bible, that is, of course, i would cut this jerusalem in half, but these four principles of the four-dimensional are cool space, where time is the most fascinating scale, allan introduces it in a very... fascinating way, i have a question for you, as a linguist, it’s really funny, but there’s something in it, here’s borhis, he somehow entered into the life of a russian person, this joke has gone overboard, what do you think borhis has gone over, well, you’re a linguist, i don’t know who else to ask, but it seems to me that you may have some kind of answer to this question, why- then borhis remained in the layer, well, yes, well, because, because, because, in principle, the very name borhis in

in russian it evokes some kind of inner isidore of seville with folk etymologies, you know, this is the root bor, that is , take beru and so on, i really want to continue etymologizing it, that is, there are such unfortunate surnames that, on the contrary, successful ones appeal to folk etymology, it’s possible with them, again a game, you understand, he again penetrated into the linguistic game, so he was a magician after all. of course, of course, that is , that even the author’s surname is fixed in the body of another language, in the fabric of another language, begins to spread there, like some beautiful noxious weed, amazing of argentine origin, now it begins to sprout, in the fabric of the labyrinth of the russian language already, well, you see how interesting it was that you and i found, what a move uh linguistic, really, something that explains about borhis and his immortality, his mind games? he is immortal, because he is constantly repeated in the works of other people, yes, yes, that is , plato’s shadows continue to play on the walls of the cave, continues to live, and the labyrinth

continues to live, it is endless, recursion mirrors are endless, borgis is alive, cool, natasha, thank you for the interesting conversation , i learned a lot, you are an erudite, it’s always interesting to listen to you and it was very interesting, that’s how you see such a writer as jorge luiss borgis, very unusual. thank you for inviting me, i really like to talk about books, what else will we call, okay , this was a must-read podcast, i ’m aglaina batnikova, my guest was natalya ushey, musician, candidate of philological sciences, lead singer of the melnitsa group, so also known as hilovisa, thank you, you can find all episodes of the podcast as a must-read on the website of the first

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