But Borges deciphers the mysteries and it gives back them still more to us enigmatic, insinuates to us that a code exists where is hidden the catalogue of catalogues, the nomenclature that identifies the original idea of the divinity in order to explain the arcane ones of the universe. It is there in that cloister, but it does not say to us nothing else. Hidden between rows of volumes, covered by the dust of the centuries, this original index is forbidden to the profane ones, the enhancing ignominiosos of the impiedad and the weariness. The book is lost between old cronicones, the yellowish codices and the papyruses alligatorings accommodated in old woman small boards. Borges continued giving to texts that sense of eternity when it published in 1975, the Sand Book.
There, the Argentine writer returns to work with elements of geometry as they are the points, the plane and the lines. The author recognizes not to be the best form to begin his story; nevertheless, he emphasizes his veracity, although he advances the fantastic thing of his essence. Once again, in this and the Library, we can perceive to the solitary Borges, the man to the margin of the time and the vicissitudes of the daily life. Imaginmonos given to the task of counting all the books, their pages, their paragraphs, phrases and words in order to distract the eternal solitude in which we have entered by that luck of tenacious desire that is the will. If this library is eternal, it cannot be work of another creature who is not a divinity, a God or the God. But it is there and her, crossing its corridors, solazando itself in the reading of all the books of the past, of the present and the future, Borges becomes an archetype of the writer and his necessity to be near the Creator who made the world with words. Original author and source of the article.