The autograph manuscript of Música patria, written in 1919, contains 1920 and 1923 additions by Borges. The manuscript includes three sketches by Borges of a farm scene, two musicians, and a couple dancing.

Autograph manuscript with corrections made in 1943

"Ciudad" with corrections made in 1943.

"Calle Desconocida" with corrections made in 1943.

Manuscript, with numerous corrections and emendations, of Jorge Luis Borges, entitled "Trincheras."

"Herrera Y Reissig" is an original holograph manuscript by Jorges Luis Borges about the Uruguayan Symbolist poet Julio Herra Y Reissig. 3 leaves titled and signed. It was published in the September 1924 issue of Inicial and then republished in in Borge's book Inquisiciones in [1925]. No other manuscript is known.

The collection contains a signed autograph manuscript, 1926, of Borges's poem "La vuelta a Buenos Aires" from "Luna de Enfrente," 1926, inscribed "A Matilde." With it is a letter, 1924 December 24, [Buenos Aires] to "Méndez" regarding the publication and title of his forthcoming book "Luna de Enfrente," and his friendship with Méndez (apparently associated with the publishing of Luna de Enfrente).

Portions appeared in Flaubert y su destino ejemplar and Vindicación de "Bouvard et Pecuchet." The last three pages were dictated to his mother, Dona Leonor Acevedo, and are in her hand.

The manuscript, with corrections by Borges, was intended as an essay in "El Idiona de los Argentinos" but was never published.

Manuscript draft of a central essay in "El Tamaño de mi Esperanza." With the manuscript is a letter, 1948 December 25, Ricardo Molinari to "mi estimato doctor," conveying the manuscript.

Signed autograph manuscript of the foreword to "Luna de enfrente."

A critical analysis of Julio Noe.

Holograph manuscript, "Sonnet for an Evening Tango" signed and dated "Jorge Luis Borges 1926", in black ink on the recto of a leaf of pink paper. One deletion, with a correction written above. It was published in March 1926 in Caras y Caretas , and never printed in any of Borge's works. No other manuscript known.

It it a very important manuscript, for its content related to another manuscript about the tango and for its early date.

Holograph manuscript,"La Cábala" (The Kabbalah), by Jorge Luis Borges, unpublished, in black ink on both sides of 2 leaves of gridded spiral notebook paper, numbered by Borges. There is a small hole at the front of the leaf, and a few ink blots.

Lengthy discussion by Borges on the Cabala significantly reflects and complements Borges original text of this essay (La Cabala 1943). It contains rare glimpses of his research sources and notes for his subject.

Contains many source notes in the margins.

Holograph manuscript signed by Jorge Luis Borges, in black ink on 2 large paper leaves. They are two linked poems of 29 and 27 lines respectively desgnated "I" and "II". They were written in 1934 and dedicated to "I. J" which were false initials concealing the true identity of dedicatee Pipina Diehl de Moreno Hueyo. They were published in 1943, in the first compilation of Borge's poems [Poemas (1922-1943)]. They were republished under the title Two English Poems , this time dedicated to Beatriz Bibiloni Webster de Bullrich. These are the only poems Borges is known to have written in English [sic].

This manuscript is distinguished in that it is English and represents an individual close to Borges. Manuscripts by Borges that are in English are very rare. They demonstrate his proficiency in the English language which he learned before Spanish.

Item has an orange slip for conservation and housing. This folder is smaller 914x18)and is in the Borges oversize box V-7 which is a large flat box. (to keep it with the other oversize Borges items).

Holograph manuscript "The Observant Mirrors" by Jorge Luis Borges signed in black ink on a blank endleaf from an unidentified book. It is about a fantasy and is published in the very rare journal Destiempo (no. 1 October 1936). It shows an early instance of Borges fascination and horror of mirrors which pervades his writings.

Borges's poem is signed "Buenos Aires 1938 J.L.B." and has a sketch of a broadleaf tree at the bottom.

Holograph manuscript "Universal Library" by Jorge Luis Borges, titled, signed, and dated "Agosto 1939", in black ink on gridded spiral notebook paper, 4 leaves numbered by Borges, with numerous corrections,and deletions.

The concept of the "universal library," crystallizes, like no other Borge's literary themes- so vast, multifaceted, and undefinable as this literary concept in which the universe is reflected. This fictional essay was first published in Sur no. 59 and never republished. It is considered as the first version and precursor of the later story La Biblioteca de Babel [1941] and is one of the most significant Borges manuscripts.

A culturally important work by Borges, it shows his vision of what he later called "The Library of Babel" and is a reflection of his entire approach to philosophy of not only literature but of existence itself.

Holograph manuscript by Jorge Luis Borges, Prologue to Carlos Grunberg's book "Mester de Juderia", titled and signed by Borges, in black ink on 3 leaves of gridded and 2 leaves of unlined paper, each leaf numbered by Borges.

It is an expansive text that exceeds the bounds of a prologue, being more of a political-literary essay which is unusual for Borges. It condemns European antisemitism and its Argentine "facsimile" [sic].

Holograph manuscript "The Secret Miracle" by Jorge Luis Borges titled and signed in black ink, and leaves numbered by Borges. Many deletions, variants, and interpolations. It offers an invaluable look at the changes he made to one of his favorite writings.

The original holograph manuscript of this story was published in Sur no. 101 (February 1943), then reprinted in the first edition of Ficciones (1944). Proof of the esteem in which Borges held this story is its inclusion in the new edition of his La muerte y la brujula (1951) and in his Antologia Personal (1961). It was followed by its recreation in other Borges collected prose books of similar literary reputation.Two of the four leaves are reproduced in Daniel Balderston, How Borges wrote Charlottesville: UVA Press, 2018. Balderston focused on Borge's use of geometrical symbols to indicate where marginal additions are to be inserted into the text.

Holograph manuscript "A Note on Peace" titled, signed, and dated "Jorges Luis Borges, 1945". With deletions and interpolations. The original manuscript was published in Sur no. 129 (May 1945)about the Allied victory over Nazi Germany. It extols Britain's role and demonstrates what was, unusually for Borges, a strong commitment to liberalism and Western civilization.

The manuscript shows Borges' hopeful attitude toward the collapse of the Nazis as World War II is ending, and it places that subject in an Argentine context. This is an important perspective during that period of time in his country.

The short story, published in "El Aleph," contains many corrections in the form of line-throughs.

A letter to Borges from Julio Cortázar concerns this story and his own fondness for Asterión.Collection includes Borges's short story, "La casa de Asterión" published in "Los Anales de Buenos Aires Ano II" and later in "El Aleph." Contains numerous textual corrections and variants from printed versions.

The manuscript was written in 1946 and revised in 1950 and 1955 by Borges and contains six sketches by him, two as part of his signature. One is a detailed half page sketch of "dio Hydra der Dikator" with heads of Hitler, Marx, etc. It was subsequently published as "Nuestro pobre individualismo" (from Otras Inquisiciones).

Holograph manuscript "From Someone to No One" by Jorge Luis Borges, signed in black ink on gridded notebook paper, numbered by Borges. With deletions and interpolations. The manuscript is an essay that first appeared in the march 1950 issue of Sur , reprinted in Borges's Otras Inquisciones (1952) and Antologia Personal (1961). It describes the paradox, which applies to gods as well as men, of a consuming ambition which can only be based on personal annihilation.

It is a critically significant text, with numerous alterations which are valuable for their content, as it relates aspects of Borges' complex views on Man and divitnity (an important theme for him). This text was well known at the time that it was published.

Also included is a drawing by Atilio Rossi

Jorges Luis Borges original holograph manuscript, "El Dios y Elrey" (God and the King)titled and signed, in black ink, 3 leaves numbered by Borges with deletions, corrections, and interpolations. The corrections on this manuscript and other manuscripts in the collection demonstrate his work toward a final publication.

The original holograph manuscript of this story, first published in Buenos Aires newspaper, La Nacion in May 1954, and reprinted in Sur no. 234 (November-December 1954); later selected by Borges to be reprinted in the anthology Paginas de Jorge Luis Borges seleccionada por su autor. (1982). [No other manuscript known.]

"S.S." published in 1960 in "El hacedor" under the title "Susana Soca." With the poem is a letter from Borges, 1959 January, Buenos Aires, in the hand of Arevedo de Borges, to the mother of Susana Soca, expressing his sympathy on her daughter's death.

Portion of an undated manuscript entitled "Manual de Zoologia Fantastica" with a later inscription by Borges dated September 3, 1963.

Unpublished manuscript in English.

Subtitled: "(imaginada con ninguna imaginación por J.L. Borges)." Text differs from published version in Cuaderno San Martín.

The collection consists of five letters of Borges, some of which appear to be to his friend the writer Carlos Mastronardi. They contain detailed references to his third book of poems "Cuaderno San Martín." An unpublished poem "Carta Deshilvanada" is included in one of the letters.

Borges, Buenos Aires, Argentina, to Evar Méndez, September 1925, together with envelope and a note by Borges on his calling card.

Two postcards to Sopena with scenes in Mar del Plata. Borges refers to several of his writings and mentions authors Alejandro Xul Solar, Maunel Peyrou, Amado Alonso, and Pedro Henríquez Ureña.

The note, written in English by Borges's mother and signed by him, thanks Manfred for his comments on "Labyrinth."

The letter is in the hand of Borges's mother and thanks Cohen for a letter in praise of him, comments that his failing sight has slowed his work, and wishes Cohen well.

Autographed letters signed, Jorge Luis Borges to Macedonio Fernández. One letter, written on a sheet of stationery from the Hotel Bayard, Paris, contains a sketch of a woman playing a guitar.

Letter, n.d., Jorge Luis Borges to Adolfo Bioy Casares re opinions of other writers and the theory of writing, enclosed in a hand bordered mat with textile flowering.

Two postcards and 1 note to Alfonso Reyes, Mar del Plata, 1941, with similar contents. All three are mounted on a single decorative sheet.

Includes video

The postcard is inscribed "a Haydee Martinez, con total amistad - Jorge Luis Borges 1931."