Jorge Luis Borges is an acclaimed author of Latin American fiction. He is known for the style of presenting his works through the literary device of magical realism. Throughout his works, he is fascinated by the incoherent magical gaze of time, the multiple realities existing in labyrinths and is an expert in writing commentaries on imaginary books that do not exist.

In the garden of forking paths, the protagonist is a spy and the story is written in the context of the First World War. Your task is to convey a secret message to your German counterparts. Madden chases him. Take a train ride to the home of renowned sinologist Dr. Stephen Albert. There the discussion revolves around an unfinished book written by the protagonist’s father. In the book there are multiple plots. For example: in one situation a man is a friend and in another an enemy and then rivals meet and shoot each other and then escape. The surprising part of the story is that the protagonist shoots Albert and is later arrested by Madden. Borges reveals at the end that he is able to deliver the secret of the bombing of a certain city by the Germans.

The narrative structure of the story is simple, from beginning to end. The story follows the traditional lines of the narrative. The plot is not very convincing and reveals the literary author’s struggle to create it.

The protagonist who is a spy instead of being faithful to his tradition is portrayed as a person interested in literature. He is constantly contemplating an incoherent manuscript of his ancestor, a created labyrinth. The author’s interest in labyrinths is a paradoxical fictional ambiguity. Is there a “trail” of meaning when one delves into or delves into the semantic structure of meaning? The emptiness of the sign is reached and the only thing that rests is a literary ornament. The authors’ writing is more like a comment than a work of fiction.

The meaning of time is viewed fictitiously. Borges attributes multiple conjectures of time. First of all, there is a time in the book that is linear. Then there are many fictional time zones where time becomes a comic gesture of literary fun. For Borges, time is like Zeno’s arrow, although in motion, it is stationary on all roads. Yes, Borges has given us the literary aspect of time, the internalized one that revolves around the ontology of the human being of experiences. Borges’s time resembles that of the melted clocks of the surrealist painter Dalí.

Although not many tropes are created, Borges goes so far as to suggest the metaphor. The whole story revolves around the symbolism of a metaphor. People, birds, sunrise, labyrinths and even time become metaphorical intrusions of the author’s creativity. The story becomes an imaginary encyclopedia where the fictional space is imaginary while resting on an exaggerated hyperbole of the real.