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"Emma Zunz" revisited.

Every critic who writes about "Emma Zunz" (1) points out that Emma is one of Borges's rare female protagonists; that hers is a detective story but lacks a detective, and that, despite the fact that Emma's crime is resolved, the story is unfathomable. Rarely mentioned is that "Emma Zunz" reworks one of Borges's favorite story models, a narrative whose the protagonist invents a plot in which he or she has not only a principal but often a tragic role. That plot reduces a life of infinite possibilities to a straight line leading to disaster.

This process is enacted in "La muerte y la brujula," in which Erik Lonnrot, an overly inventive detective, constructs a rabbinical ...

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