On Borges, John Perry, Spinoza, and Identity
I once met John Perry for a few minutes in line at a hotel Starbucks at an Eastern APA when those were still the job-market. We didn't know each other, and we never met again (so far). But I knew his name because I owned his A Dialogue on Personal Identity and Immortality; our chat was brief, but it was kind not the least because his eyes didn't wander to scan the room while we talked. I forgot what we talked about, but, as the kids say, sometimes the vibe is more important than the words and it was one of the few sweet moments during that otherwise dismal APA.
So, I'll forgive him that in his (2007) Amherst Lecture which offers a reading of “Borges and I,” Perry opts for "the more straightforward interpretation" in supposing that the implied author of "Borges and I" is Borges the (famous) actual author of the piece, and not some fictional counterpart or doppelgänger of the actual author. After all, we're dealing with Borges, the author of Pierre Menard!
"Borges and I' is, in fact, about the estranged relationship between the implied author of "Borges and I" and the famous author, Borges. So, it's not impossible that the implied author of "Borges and I" is the fictional counterpart.
Perry actually acknowledges this possibility on some level later in his argument when he concedes that "in following the writer’s thoughts, we must to a certain extent pretend that the writer is not Borges." But Perry thinks we can't sustain this perspective because "the interest of the story is the thoughts that the writer has about himself" (emphasis added) and not the implied fictional counterpart.
As an aside, the less straightforward interpretation that Perry rejects is that "Borges could have written a story like this about some other author." But that's compatible with the implied author being (not just a counterpart/doppelgänger of Borges, but) also (say) Eric Schliesser. And it's quite clear that the latter option is not really implied by the story. So, while I agree with Perry that this is less likely and should be rejected, I don't think, as I hinted in the previous two paragraphs, Perry has canvassed all the relevant options when he opts for what he takes to be the more straightforward interpretation.
Perry's interpretation of "Borges and I" actually goes off the rails, I think, shortly thereafter when he writes that "It would not only be odd, but quite impossible, for Borges to survive the writer. Even if all that is meant by “survival” is living on as a literary figure, if Borges lives on in that way, so will the writer." This is not right if we reject the more straightforward interpretation.
But even on the straightforward interpretation there is a wrinkle that Perry does not confront. (I say this with some trepidation not just because I remember his kindness so fondly, but also because between the two of us, he is actually the expert on identity.) Before I get to that, for Perry, "Borges and I" is fundamentally about the expression of "a certain alienation [the actual Borges] feels about certain aspects of himself and certain achievements of his." The alienation thesis is quite plausible. But the reason for Perry's confidence here is that he is working with a theory of identity (let's call it a 'classical' one) in which "the relation that A and B have when there is just one thing that is both A and B. It is the relation that Tully has to Cicero, the evening star has to the morning star, Mark Twain has to Samuel Clemens, Bill Blythe has to Bill Clinton, and so on. Identity is the relation that each thing has to itself and no other." This is familiar enough for philosophical readers.
In order to hold on to this classical theory of identity and to handle the ways in which A and B (Borges and I or I and Borges) may seem to come apart in "Borges and I," Perry introduces the idea of "motivating cognitive complex." If you are interested in finding out what that is read Perry’s lecture. I'll stipulate here that it can do the job Perry wants it to do.
To be sure, I don't mean to deny that Perry may be playing an elaborate, Borgesian game with us, too. After all, along the way, while discussing a thought experiment of Hector-Neri Castañeda, Perry notes that "then I see on the web that the date when John Perry published his Dialogue on Personal Identity and Immortality was 1978, that information goes into the same mental file where information about what is in front of me, whether I am hungry or not, and the like, is kept. I get the information “John Perry published the dialogue in 1978” and this leads to the thought, “I published the dialogue in 1978.”" One may well wonder who this I really is supposed to be.
Be that as it may, I don't think that Borges (in the straightforward interpretation) or the implied author, Borges's counterpart (in my preferred interpretation) is relying on the classical theory of identity in "Borges and I." And my reason for thinking that is two-fold: first, the story ends with an epistemic claim: "I don’t know which of the two writes this page." On Perry's reading this ought to be deeply puzzling. For, by stipulation (the straightforward interpretation), the persona who is writing the piece is Borges the famous author. So this doubt really can’t arise on Perry’s straightforward reading.
Second, Perry completely, and somewhat oddly (he is a professional philosopher, after all), skips the explicit invocation of Spinoza in "Borges and I" (which in the translations I am familiar with is shorter than a double-spaced page).
It's pretty clear that Spinoza rejects the classical theory of identity. This is obvious in Spinoza's doctrine of eternality in which the X that becomes eternal loses all the particularity one naturally (and also on the classical theory of identity) associates with X and becomes, in fact, in a certain sense co-extensive with the true or the truths (Y). But it’s not so that from the perspective of eternity, X=Y. (See here for an attempt to describe this.) In fact, Spinoza also rejects what Tarski calls the 'classical' conception of truth (and defends what one might call a metaphysical identity theory of truth (recall here)). Rather, like the Muslim philosophers' views of God’s knowledge (as Al-Ghazali infers, they deny that God knows individuals), from the perspective of eternity, Spinoza's individuals and individuality are ephemera (and so unknowable). My point here is not to defend Spinoza.
Now, it's possible, of course, that the implied author of "Borges and I" has a different interpretation of Spinoza than the one hinted at in the previous paragraph. Fair enough. In the story, the following is claimed: "Spinoza understood that all things want to be preserved in their being." This is an evocation of a feature of the so-called general 'Conatus doctrine' (EIIIp6). In fact, it echoes Ethics IIIp9 (and a whole series of propositions developed in parts IV/V of the Ethics): "The mind, both insofar as it has clear and distinct ideas and also insofar as it has confused ideas, strives to persevere in being." In "Borges and I" the doctrine gets glossed as follows (in the translation of Ilan Stavans):
Again, at first one may think it's pretty clear Perry is onto something when he suggests that this expresses alienation. Perhaps an alienation so extreme, that the conatus doctrine ends up in a kind of inversion: rather than tending toward eternity, it tends in the implied author toward oblivion or near-total loss of identity.
Before I close this digression, I should admit that I ended up returning to Borges' story because my friend Petra had bait-and-switched me into buying Amina Cain's fascinating essay, A Horse at Night. This essay mentions two of Borges' stories (including "Borges and I”.) I write ‘bait-and-switch,’ because Petra had sent me a picture of a paragraph from Cain, which I only later realized (while reading Cain's essay) was an excerpt from Annie Ernaux's The Possession.
A major theme of A Horse at Night, is how in "writing and life" two things can be imaginatively projected on top of each other without eclipsing each other and, thereby, generating something new. That is, Cain explores the complex nature of identity. To put this as a serious joke: I find Cain's implied author in A Horse at Night nearly insufferable and banal when she is engaged in autobiography and mesmerizingly evocative and interesting when discussing other artist’s works of art. For the record: Cain treats the implied author of "Borges and I" as sad.
Neither Perry nor Cain discusses Spinoza or the skeptical conclusion of "Borges and I:" "I don’t know which of the two writes this page." It's not obvious on Perry's reading why this occurs. It's a rather extreme form of skepticism; it denies knowledge of the self-identifying features of the Cartesian ego in the very act of affirming its existence. It is especially notable — alerted by Cain — that this occurs in the writer’s life that one forgets or losses oneself in a certain sense. (Cain touches on this from the perspective of the Soto Zen tradition, not Spinozism.)
If we glance at Spinoza's theory of identity the puzzle disappears if we imagine, as we are allowed in fiction, that the sentence, "I don’t know which of the two writes this page," is written from the perspective of eternity/oblivion. For from that perspective such individualizing marks are not known/knowable. Of course, the joke is knowing that one is Borges, or the implied author, or his very vain counterpart, wouldn't matter from that perspective either, or at least it shouldn't.
I hear the last sentence as confused about whether he’s being confessional and authentic or just doing a move in further sustaining the public persona of Borges.