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Doubles and Counterparts: Patterns of Interchangeability in Borges' "The Garden of Forking Paths"

That the governing structural principle of Jorge Luis Borges' "The Garden of Forking Paths" is the analogy among fictional levels goes almost without saying.' In the fashion of Chinese boxes, many parallels are established between the characters Yu Tsun, Stephen Albert, and Ts'ui Pn Albert's garden abounds in zigzagging footways and, like Borges' own story, is named "the garden of forking paths" after the title of Pan's novel (or is it only a metaphor for the novel?). On the way to Albert's house, Tsun must turn always to the left, following a road that "fork[s]," as one goes in order to discover the central point of certain labyrinths (p. 22). Labyrinths are familiar to Tsun since he grew up in a symmetrical garden of Hai Feng, and like the garden, a certain Fang is mentioned in Albert's explanation to Tsun of P&n's mystery. War dictates Tsun's behavior, and war is described in the contradictory chapters of P&n's novel. To write that novel, Ts'ui Pin retired to "the Pavilion of the Limpid Solitude" (p. 24), and Albert, upon meeting the narrator, says, "I see that