One of those books which became part of my personal reference library as a kid was the Piccolo paperback Dictionary of Monsters and Mysterious Beasts by Carey Miller, which I treasured for both its inclusion of obscure monsters I'd never heard of and the evocative black and white line illustrations by Mary I. French. Online research reveals that Miller made a career from books which terrified and fascinated the children of my generation, another one I owned being the beautifully painted hardback Mysteries of the Unknown: Monsters, Ghosts & UFOs from 1977 which only now do I realise was by the same author. This may all seem obtuse as preamble to my writing about Borges, an Argentinian author whose works have, as Wikipedia puts it, contributed to philosophical literature and the fantasy genre, and have had a major influence on the magic realist movement in twentieth century Latin American literature; but with hindsight it's difficult to believe Carey Miller wasn't cherry-picking from this earlier compendium when compiling her own dictionary given the quota of mythical monsters I've never seen mentioned outside of these two books - the Kujata, the Squonk and the Nasnas, to name just three. This isn't an accusation of plagiarism so much as one of influence given the differences. Miller's purpose being to give kids goosebumps, she includes dinosaurs and Frankenstein's monster.
I'm not sure Borges' intention was at variance but for a slight shift of focus, and we're in roughly the same territory as his short stories, here with narrative boiled down to its essence of time, place, character and so on, delivering equivalent observations and ideas in alphabetical order and without any of it being pinned to the customary progression of regular fiction. Where Miller's scope was sufficiently broad as to include Mary Shelley's hit single, Borges similarly draws in creatures from the writing of both Poe and Kafka whilst himself employing considerable artistic license in relating established mythological figures, and even creating one of his own - the Peryton, a half deer and half bird chimera which somehow casts the shadow of a man. This, I would assume, is because a rigorously scientific bestiary of mythical beasts arguably misses the point of that which it purports to describe, and because the larger world is often mapped from the seclusion of daily existence by fictions or truisms at best; and The Book of Imaginary Beings seems to provide a more informative account of the historical human experience as related to our environment than whichever facts or statistics might apply, even where the facts and statistics are more accurate in material terms.
This distinction is probably something we should try to keep track of, not least in recognising that there is a distinction which doesn't detract from the world described herein by Borges being a wonderful place.
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