Хроники Бустоса Домека

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L. Борхес — В примечаниях приводятся фрагменты его работ и ссылки на издания."]},{"key":"quotes","title":"Цитаты","body":["В начале сороковых годов мы начали писать вместе – подвиг, казавшийся мне прежде немыслимым.","Всё, что я пишу, не имеет эстетической ценности.","Все они были одним и тем же произведением. Они не отличались ни одной запятой, ни точкой с запятой, ни единым словом!","Бессмертный есть недвижимость. Не хватает, правда, одного-двух ударов кисти – звучание голоса, диалог, – да, здесь еще возможны улучшения.","«Любая мечта – пророчество: любая шутка становится чем-то серьезным в лоне Времени» (п. 3)","«В 1942 г. Борхес сам участвовал в этой полемике» (п. 40)"]}],"authorSummary":{"key":"authorSummary","title":"Сводка по автору из Wikidata","body":"1899–1986. 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Л. Борхес (1899 – 1986) и А. Б. Касарес (1914 – 1999). Эта причудливая коллекция квазирецензий во всем блеске отражает стилистическое мастерство прозаиков. Помимо «Хроник» в книгу включено еще одно примечательное творение О. Б. Домека: «По ту сторону добра и зла»."},{"id":"id2218:2","kind":"paragraph","text":"Предваряется книга извлечением из «Автобиографических заметок» X. Л. Борхеса, излагающим историю возникновения удивительного литературного тандема и обстоятельства появления на свет Божий О. Б. Домека."},{"id":"id2218:3","kind":"paragraph","text":"Все произведения представлены в переводе Евгении Михайловны Лысенко."},{"id":"id2218:4","kind":"paragraph","text":"Книга рассчитана на самую массовую аудиторию."},{"id":"id2218:5","kind":"paragraph","text":"Хорхе Луис Борхес, Адольфо Биой Касарес"},{"id":"id2218:6","kind":"paragraph","text":"Хорхе Луис Борхес. Из «Автобиографических заметок»"},{"id":"id2218:7","kind":"paragraph","text":"ХРОНИКИ БУСТОСА ДОМЕКА"},{"id":"id2218:8","kind":"paragraph","text":"Предисловие"},{"id":"id2218:9","kind":"paragraph","text":"Дань почтения Сесару Паладиону"},{"id":"id2218:10","kind":"paragraph","text":"Вечер с Рамоном Бонавеной"},{"id":"id2218:11","kind":"paragraph","text":"В поисках абсолюта"},{"id":"id2218:12","kind":"paragraph","text":"Нынешний натурализм"},{"id":"id2218:13","kind":"paragraph","text":"Каталог и анализ разнообразных сочинений Лумиса"},{"id":"id2218:14","kind":"paragraph","text":"Новый вид абстрактного искусства"},{"id":"id2218:15","kind":"paragraph","text":"Теория группировок"},{"id":"id2218:16","kind":"paragraph","text":"Универсальный театр"},{"id":"id2218:17","kind":"paragraph","text":"Новый вид искусства"},{"id":"id2218:18","kind":"paragraph","text":"Gradus ad parnassum [105]"},{"id":"id2218:19","kind":"paragraph","text":"Избирательный взгляд"},{"id":"id2218:20","kind":"paragraph","text":"Чего нет, то не во вред"},{"id":"id2218:21","kind":"paragraph","text":"Этот многогранный Виласеко"},{"id":"id2218:22","kind":"paragraph","text":"Наш мастер кисти: Тафас"},{"id":"id2218:23","kind":"paragraph","text":"Гардероб I"},{"id":"id2218:24","kind":"paragraph","text":"Гардероб II"},{"id":"id2218:25","kind":"paragraph","text":"Новейший подход"},{"id":"id2218:26","kind":"paragraph","text":"Esse est percipi [157]"},{"id":"id2218:27","kind":"paragraph","text":"«Бездельники»"},{"id":"id2218:28","kind":"paragraph","text":"Бессмертные"},{"id":"id2218:29","kind":"paragraph","text":"ОНОРИО БУСТОС ДОМЕК «ПО ТУ СТОРОНУ ДОБРА И ЗЛА»"},{"id":"id2218:30","kind":"paragraph","text":"notes"},{"id":"id2218:31","kind":"paragraph","text":"1"},{"id":"id2218:32","kind":"paragraph","text":"2"},{"id":"id2218:33","kind":"paragraph","text":"3"},{"id":"id2218:34","kind":"paragraph","text":"4"},{"id":"id2218:35","kind":"paragraph","text":"5"},{"id":"id2218:36","kind":"paragraph","text":"6"},{"id":"id2218:37","kind":"paragraph","text":"7"},{"id":"id2218:38","kind":"paragraph","text":"8"},{"id":"id2218:39","kind":"paragraph","text":"9"},{"id":"id2218:40","kind":"paragraph","text":"10"},{"id":"id2218:41","kind":"paragraph","text":"11"},{"id":"id2218:42","kind":"paragraph","text":"12"},{"id":"id2218:43","kind":"paragraph","text":"13"},{"id":"id2218:44","kind":"paragraph","text":"14"},{"id":"id2218:45","kind":"paragraph","text":"15"},{"id":"id2218:46","kind":"paragraph","text":"16"},{"id":"id2218:47","kind":"paragraph","text":"17"},{"id":"id2218:48","kind":"paragraph","text":"18"},{"id":"id2218:49","kind":"paragraph","text":"19"},{"id":"id2218:50","kind":"paragraph","text":"20"},{"id":"id2218:51","kind":"paragraph","text":"21"},{"id":"id2218:52","kind":"paragraph","text":"22"},{"id":"id2218:53","kind":"paragraph","text":"23"},{"id":"id2218:54","kind":"paragraph","text":"24"},{"id":"id2218:55","kind":"paragraph","text":"25"},{"id":"id2218:56","kind":"paragraph","text":"26"},{"id":"id2218:57","kind":"paragraph","text":"27"},{"id":"id2218:58","kind":"paragraph","text":"28"},{"id":"id2218:59","kind":"paragraph","text":"29"},{"id":"id2218:60","kind":"paragraph","text":"30"},{"id":"id2218:61","kind":"paragraph","text":"31"},{"id":"id2218:62","kind":"paragraph","text":"32"},{"id":"id2218:63","kind":"paragraph","text":"33"},{"id":"id2218:64","kind":"paragraph","text":"34"},{"id":"id2218:65","kind":"paragraph","text":"35"},{"id":"id2218:66","kind":"paragraph","text":"36"},{"id":"id2218:67","kind":"paragraph","text":"37"},{"id":"id2218:68","kind":"paragraph","text":"38"},{"id":"id2218:69","kind":"paragraph","text":"39"},{"id":"id2218:70","kind":"paragraph","text":"40"},{"id":"id2218:71","kind":"paragraph","text":"41"},{"id":"id2218:72","kind":"paragraph","text":"42"},{"id":"id2218:73","kind":"paragraph","text":"43"},{"id":"id2218:74","kind":"paragraph","text":"44"},{"id":"id2218:75","kind":"paragraph","text":"45"},{"id":"id2218:76","kind":"paragraph","text":"46"},{"id":"id2218:77","kind":"paragraph","text":"47"},{"id":"id2218:78","kind":"paragraph","text":"48"},{"id":"id2218:79","kind":"paragraph","text":"49"},{"id":"id2218:80","kind":"paragraph","text":"50"},{"id":"id2218:81","kind":"paragraph","text":"51"},{"id":"id2218:82","kind":"paragraph","text":"52"},{"id":"id2218:83","kind":"paragraph","text":"53"},{"id":"id2218:84","kind":"paragraph","text":"54"},{"id":"id2218:85","kind":"paragraph","text":"55"},{"id":"id2218:86","kind":"paragraph","text":"56"},{"id":"id2218:87","kind":"paragraph","text":"57"},{"id":"id2218:88","kind":"paragraph","text":"58"},{"id":"id2218:89","kind":"paragraph","text":"59"},{"id":"id2218:90","kind":"paragraph","text":"60"},{"id":"id2218:91","kind":"paragraph","text":"61"},{"id":"id2218:92","kind":"paragraph","text":"62"},{"id":"id2218:93","kind":"paragraph","text":"63"},{"id":"id2218:94","kind":"paragraph","text":"64"},{"id":"id2218:95","kind":"paragraph","text":"65"},{"id":"id2218:96","kind":"paragraph","text":"66"},{"id":"id2218:97","kind":"paragraph","text":"67"},{"id":"id2218:98","kind":"paragraph","text":"68"},{"id":"id2218:99","kind":"paragraph","text":"69"},{"id":"id2218:100","kind":"paragraph","text":"70"},{"id":"id2218:101","kind":"paragraph","text":"71"},{"id":"id2218:102","kind":"paragraph","text":"72"},{"id":"id2218:103","kind":"paragraph","text":"73"},{"id":"id2218:104","kind":"paragraph","text":"74"},{"id":"id2218:105","kind":"paragraph","text":"75"},{"id":"id2218:106","kind":"paragraph","text":"76"},{"id":"id2218:107","kind":"paragraph","text":"77"},{"id":"id2218:108","kind":"paragraph","text":"78"},{"id":"id2218:109","kind":"paragraph","text":"79"},{"id":"id2218:110","kind":"paragraph","text":"80"},{"id":"id2218:111","kind":"paragraph","text":"81"},{"id":"id2218:112","kind":"paragraph","text":"82"},{"id":"id2218:113","kind":"paragraph","text":"83"},{"id":"id2218:114","kind":"paragraph","text":"84"},{"id":"id2218:115","kind":"paragraph","text":"85"},{"id":"id2218:116","kind":"paragraph","text":"86"},{"id":"id2218:117","kind":"paragraph","text":"87"},{"id":"id2218:118","kind":"paragraph","text":"88"},{"id":"id2218:119","kind":"paragraph","text":"89"},{"id":"id2218:120","kind":"paragraph","text":"90"},{"id":"id2218:121","kind":"paragraph","text":"91"},{"id":"id2218:122","kind":"paragraph","text":"92"},{"id":"id2218:123","kind":"paragraph","text":"93"},{"id":"id2218:124","kind":"paragraph","text":"94"},{"id":"id2218:125","kind":"paragraph","text":"95"},{"id":"id2218:126","kind":"paragraph","text":"96"},{"id":"id2218:127","kind":"paragraph","text":"97"},{"id":"id2218:128","kind":"paragraph","text":"98"},{"id":"id2218:129","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Луис Борхес, Адольфо Биой Касарес Хроники Бустоса Домека"},{"id":"id2217:1","kind":"heading","text":"Перевод с испанского и английского Евгении Лысенко"},{"id":"id2217:2","kind":"heading","text":"В оформлении обложки использована работа Джеймса П. Блейра"},{"id":"id2216:0","kind":"heading","text":"Хорхе Луис Борхес. Из «Автобиографических заметок»"},{"id":"id2216:1","kind":"paragraph","text":"Одним из главных событий тех лет – и моей жизни – было начало дружбы с Адольфо Биоем Касаресом. Мы встретились в 1930 или 1931 году, когда ему было около семнадцати лет, а мне недавно исполнилось тридцать. В таких случаях считается само собой разумеющимся, что старший по возрасту – это учитель, а младший – ученик. Возможно, что вначале так оно и было, но уже несколько лет спустя, когда мы начали работать вместе, учителем практически и незаметно стал Биой. Он и я предпринимали много разных литературных работ. Мы составляли антологии аргентинской поэзии, фантастических рассказов и детективных историй; мы писали статьи и предисловия; мы сделали комментарий к сэру Томасу Брауну и к Грасиану; мы переводили новеллы таких писателей, как Бирбом, Киплинг, Уэллс и лорд Дансейни; мы основали журнал «Дестьемпо» [1], который продержался до третьего номера; мы писали киносценарии, которые неизменно отвергались. Противостоя моему вкусу к патетическому, сентенциозному, барочному, Биой заставил меня почувствовать, что стиль спокойный и строгий более привлекателен. Возьму на себя смелость утверждать, что Биой постепенно вел меня к классицизму."},{"id":"id2216:2","kind":"paragraph","text":"В начале сороковых годов мы начали писать вместе – подвиг, казавшийся мне прежде немыслимым. Я придумал сюжет, который показался нам обоим подходящим для детективного рассказа. И однажды в дождливое утро Биой сказал мне, что надо попробовать. Я с неохотой согласился, и чуть позже в то же утро этот факт свершился. Потом появился третий, Онорио Бустос Домек, и взялся нами руководить. Долгое время он управлял железной рукой, что нас сперва забавляло, а затем уже пугало, когда он стал совершенно непохожим на нас, стал навязывать нам свои капризы, свои каламбуры и свой весьма вычурный стиль. Домек было имя прадедушки Биоя, а Бустос – моего кордовского прадедушки. Первой книгой Бустоса Домека были «Шесть задач для дона Исидро Пароди» (1942), и во все время ее создания он никогда не отлынивал. Макс Каррадос придумал слепого детектива, Биой и я пошли дальше, мы поместили нашего детектива в тюремную камеру. Эта книга была заодно сатирой на Аргентину. Долгие годы двойная природа Бустоса Домека не была обнаружена. Когда же это произошло, все подумали, что раз Бустос был шуткой, то и его сочинения вряд ли можно принимать всерьез."},{"id":"id2216:3","kind":"paragraph","text":"Следующим плодом нашего сотрудничества был другой детективный роман «Образчик для смерти». Содержание его настолько лично окрашено и полно наших особых шуток, что мы напечатали его только в одном издании, и то не для продажи. Автора книги мы назвали Б. Суарес Линч. «Б», видимо, означало Биой и Борхес, «Суарес» – было имя другого моего прадеда, а Линч – другого прадеда Биоя. Бустос Домек появился снова в 1946 году в другом нашем частном издании, на сей раз это были два рассказа под названием «Две достопамятные фантазии». После долгого перерыва Бустос опять взялся за перо и в 1967 году создал свои «Хроники». Это статьи, написанные о вымышленных экстравагантных современных художниках-архитекторах, скульпторах, живописцах, поварах, поэтах, романистах, кутюрье – рьяным критиком-модернистом. Но и автор, и его персонажи – глупцы, и трудно сказать, кто кого перещеголял. В книге есть посвящение – «Троим забытым великим – Пикассо, Джойсу, Ле Корбюзье». Стиль – сплошная пародия. Бустос пишет по-журналистски небрежно, у него масса неологизмов, латинских слов, клише, смешанных метафор, бессвязностей и напыщенных выражений."},{"id":"id2216:4","kind":"paragraph","text":"Меня часто спрашивали, как возможно соавторство. Полагаю, что для него необходимо некое отречение от своего «я», от тщеславия и, пожалуй, от общепринятой вежливости. Соавторы должны забыть себя и думать только об общей работе. Действительно, если кто-нибудь хочет узнать, мною ли придумана та или иная шутка или эпитет или Биоем, я, по чести, не могу ответить. Пытался я писать в сотрудничестве с другими людьми – даже с некоторыми очень близкими друзьями, – но их неспособность быть, с одной стороны, грубоватыми, а с другой – толстокожими, делала наше соавторство невозможным. Что ж до «Хроник Бустоса Домека», они, я думаю, лучше всего, что я написал под своим собственным именем, и почти столь же хороши, как то, что Биой писал самостоятельно [2]."}],"toc":[{"id":"id2218:0:1","label":"Annotation","page":1,"pageUrl":"/books/1m9KT15W#reader-content"},{"id":"id2217:0:1","label":"Хорхе Луис Борхес, Адольфо Биой Касарес Хроники Бустоса Домека","page":1,"pageUrl":"/books/1m9KT15W#reader-content"},{"id":"id2217:1:1","label":"Перевод с испанского и английского Евгении Лысенко","page":1,"pageUrl":"/books/1m9KT15W#reader-content"},{"id":"id2217:2:1","label":"В оформлении обложки использована работа Джеймса П. Блейра","page":1,"pageUrl":"/books/1m9KT15W#reader-content"},{"id":"id2216:0:1","label":"Хорхе Луис Борхес. 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