logo

33 pages 1 hour read

Jorge Luis Borges

The Garden of Forking Paths

Fiction | Short Story | Adult | Published in 1941

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Background

Scientific Context: Borges and New Physics

Dr. Albert remarks that Tsun’s ancestor Ts’ui Pên did not agree with older thinkers like Newton and Schopenhauer on the subject of time and the universe. Ts’ui Pên’s concept of time as a web has more in common with newer modes of theoretical physics with which Borges would have been familiar. Around the turn of the 20th century, physicists began to understand that the motions of the universe might be more complex and unpredictable than previously supposed. Scientists like Max Planck, Niels Bohr, and Albert Einstein examined the behavior of light and the structure of atoms; their work upended traditional understanding of time, perception, and relation.

By the time Borges wrote “The Garden of Forking Paths,” multiple Nobel prizes had been awarded to scientists for their work in relativity and quantum mechanics. Theories refining our understanding of atomic structure became more popularly discussed, as with Erwin Schrödinger’s famous 1935 thought experiment, the cat in the box. In this thought experiment, a paradox emerges in which a cat is both dead and alive until someone observes the cat, at which point the act of observation determines whether the cat is dead or alive. In other words, the paradox is that the quantum system can exist in multiple states simultaneously, not unlike the Borgesian forking paths. The cat question also engaged concerns about whether particles truly have defined properties independent of observation and, thus, whether observation can influence material outcomes (contrary to previous belief).

Though Schrödinger originally intended his thought experiment to illustrate a misinterpretation of quantum theory, over time the scenario has been used to explore various nascent ideas about quantum mechanics. One such idea is that quantum particles can also correlate with one another, as if one particle can perceive another particle’s properties, even from far away. This theory suggested a kind of mirroring on the most minute level. Measuring the state of one particle, scientists could predict the properties of its twin—something that, in a 1947 letter to physicist Max Born, Einstein called “spooky action at a distance” (M. Born, editor. The Born-Einstein Letters. Macmillan, 1971). This particle behavior became known as “entanglement,” and its observation as it naturally occurs in the real world provided a foundation for quantum computing. While Borges’s “The Garden of Forking Paths” provides layers of metaphor representing mirroring, possible unobserved futures, and an alternate understanding of time, the labyrinth metaphor also seems to anticipate 21st-century work on “freedom of choice” or loophole theory in physics. The contemporary question of quantum entanglement versus superdeterminism embodies the central action of “The Garden of Forking Paths”: Either we determine our path, or the path determines us.

Literary Context: Spy Thrillers

Borges’s “The Garden of Forking Paths” borrows plot features and motifs from spy novels and movies, a genre that had grown in popularity and developed in sophistication during the postwar years. Alfred Hitchcock’s 1930s thrillers The Man Who Knew Too Much and The 39 Steps share significant details with “The Garden of Forking Paths,” elements identifiable as part of the grammar of the spy narrative: repeated images, moral ambiguity, misdirection or misapprehension, and a sense of world-weary despair. While these films have much more involved plots and action, these shared motifs give “The Garden of Forking Paths” the mood of a spy story.

In The 39 Steps (1935), the plot centers on a mild-mannered man forced to run from assassins, much like Tsun. Also like “The Garden of Forking Paths,” an item turns out to exist in a completely different kind of incarnation than many characters assumed. The misunderstanding delays the resolution, but the realization alters the characters’ understanding of their roles. The central figure in The 39 Steps is a Canadian in London—as in “The Garden of Forking Paths,” even this slight cultural alienation heightens the sense of being a stranger, being other, and being outside the safety of everyday life.

Hitchcock’s popular The Man Who Knew Too Much (1934) shares a title with a G. K. Chesterton novel from a little over a decade earlier, but the film and novel are entirely different stories with different plots and characters. The film was so popular that Hitchcock remade it in 1956 with yet another plot. In the 1934 version, a fatally injured spy attempts to send a message through a warning note he leaves behind. The villain almost gets away, but his watch chime reveals his hiding place, an ironic intervention of time.

“The Garden of Forking Paths” features a MacGuffin, a term invented by Hitchcock to describe an object with great importance to the characters in the story but without significance on its own for the reader or audience. The novel The Garden of Forking Paths is the MacGuffin in the story “The Garden of Forking Paths.” A true MacGuffin drives the plot forward; assuming as much gives the plot more unity, because it means that Tsun’s destiny was fulfilled in learning the nature of The Garden of Forking Paths, not in delivering his secret message. All factors then serve to lead him to Albert, all the way back to the stationing of the English artillery in the town that shared his name.

blurred text
blurred text
blurred text
blurred text