Jorge Luis Borges is one of a handful of writers whose every work fills me with awe and envy. I’m awed by the precision of his paradoxes, his ability to usher me into mysteries at once beautiful and haunting. I’m envious because his aesthetics so resonate with me that I feel as if each story I read is a story I’ll never get to write.
Ted Chiang is another such writer. Like Borges, his craft is as precise as clockwork. The elegant inevitability of his plots, which unfold as if mapped upon some narrative Golden Mean, suggests an orderliness to reality without diminishing its mystery. Take, for instance, “Tower of Babylon,” in which the biblical story of Babel is reimagined sans-idolatry: an entire civilization is organized around the desire to be nearer to God Most High. When the hero at last pierces the vault of heaven and enters the “waters above,” he swims upwards until breaking the surface—and finds himself on Earth again, just outside the city, swimming in the “waters below.” The structure of reality is precise, circular, self-contained—and for that reason, unfathomable.
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