El Sur. (Part 1)
El Sur by Jorge Luis Borges
I Do Not OWn The Music
Nessaja by Scooter
Mo Money Mo Problems by Notorious BIG
Party In The USA by Miley Cyrus
Come Sail Away by Styx
Man In The Mirror by Michael Jackson
The Cup of Life by Ricky Martin
Arabian Night from Aladdin
Tags: El Sur White Flag Productions Calatayud Jorge Luis Juan Dahlmann Borges
Added: 3 years ago
The White Flag Productions and Espanol Studios with Calatayud Films
A Double Z Production
Juan Dehlmann is a librarian in Argentina. One day he finds a book called "Arabian Nights." He takes the book from his library and rushes to home to read it.
"Oh my god. I've always wanted to read this!"
Once he gets home, he rushes up to his room to begin reading. He hits his head on the stairs and falls down ... far.
That night, Juan is having trouble falling asleep. He keeps having nightmares about "Arabian Nights."
Juan has come down with a high fever. He can't get out of bed. His friend comes over and when he see's Juan's condition, calls a doctor.
The ambulance rushes to Juan's house and takes him to the hospital.
Upon his arrival at the hospital, the doctors decide that Juan needs surgery.
Once he is released from the hospital, Juan decides to return to his ranch in the south, he is preparing to board a train when he realizes that he is early. He decides to enter a local cafe.
Juan enters the cafe and finds a cat. Juan thinks cats are very magical and live in the moment.
Juan gets on the train and goes to his ranch in the south. While on the train, he learns that it wont stop at the station that he needs to go to. He gets off one station early.
The manager of the train station tells Juan to go to Moe's Southwest Grill.
Juan arrives at Moe's, where 2 drunk men are throwing crumbs at them. When he confronts them, he learns that they have a knife. Juan finds his own knife and decides to fight the bigger one
"The South" (original Spanish title: "El Sur") is a short story by Argentine author Jorge Luis Borges, first published in La Nacion in 1953, and which appeared in the second edition (1956) of Ficciones, part two (Artifices).
Johannes Dahlmann was a minister in an Evangelical Church. Juan Dahlmann, one of his grandchildren, is a secretary in an Argentine library. Although of German descent, he is proud of his Argentine maternal ancestors. He has a number of artifacts from his forefather: an old sword, a lithograph photo, and a ranch home in southern Argentina he has never found time to visit.
In February 1939, he obtains a copy of the Arabian Nights. He takes the book home, and -- eager to examine it -- rushes up the stairs and gashes his forehead against a recently painted beam. The wound Dahlmann suffers forces him to lie bedridden with a very high fever. After a few days, his doctors move him to the hospital. On his way there, Dahlmann feels that perhaps the move will do him good. At the hospital, however, Dahlmann's treatment for his injury causes him great pain and discomfort, causing him to feel humiliation and self-hatred, almost as though he were in hell.
(An interpretation of the story could be that what follows is an explanation of his idealized death -- the one Juan Dahlmann fabricates and stages in his mind -- in order to pass into the next life in an honorable manner.)
After days in the hospital he is suddenly told that he is recovering, after almost having died of septicemia. Juan Dahlmann sets off to his ranch to convalesce. The story shifts locations to a train station, where Dahlmann is waiting for a train to travel to his ranch. He regards the city sights with great joy, and he decides to go to a restaurant for a bite to eat. In the restaurant he notices a cat, the mythical creature who, in many cultures (for example Egypt), is associated with eternity and the gods.
After his meal, Dahlmann boards the train, and rides out of the city into the countryside. He begins to read the 1001 Arabian Nights, but then closes the book to enjoy the scenery. The train conductor enters his compartment and notifies him that the train will not be stopping at his destination, but at a previous station. Once the train reaches the deserted station, Dahlmann steps off into a small countryside town. He makes his way through the dusty streets and finds the only restaurant. He sits down, orders food, and begins to read the 1001 Arabian Nights.
Three rowdy ranch workers sitting at a table nearby throw a bread crumb at him; this he ignores. However, after a short while, they begin again. This time, Dahlmann stands up in order to exit the establishment. The shopkeeper (calling him by name) anxiously asks Dahlmann to pay them no heed, saying they are drunk. This prompts Dahlmann to do the opposite, to face them. One of the ranch workers brandishes a knife. Seeing the situation getting out of hand, the shopkeeper calls out that Dahlmann does not even have a weapon. At this point, an old man in the corner, a gaucho (which to Dahlmann represents the essence of the South as well as the past) throws a knife to Dahlmann. It lands at his feet. As he picks up the knife, Dahlmann realizes that it will not be of any use to his defense. He knows he has never wielded a knife in his life and that if he fights he is going to die. However, he feels that his death in a knife fight is honorable, that it is the one he would have chosen when he was sick in the hospital, and he decides to go. The story ends with Dahlmann and the farmer exiting the bar and walking into the streets as the setting sun blazes behind them.
* The events of the story are semi-autobiographical: Borges also worked in a library. At New Year's 1939, Borges suffered a severe head wound and nearly died of blood poisoning.
* Borges considered "The South" to be his best story.
* "The South" inspired and is referenced in the short story "The Insufferable Gaucho" by Roberto Bolano.
* The short story is read by Mick Jagger's character in the 1970 film Performance. The movie contains several other allusions to Borges.
* Spanish film director Carlos Saura wrote and directed the TV movie, El Sur, which was adapted from Borges' short story. Saura's film takes place in more modern times (1990), and Saura also attempts to strengthen autobiographical themes found in the original story.