Jorge Luis Borges, author of Labyrinths, attempts to skew the fundamental principles by which most people govern their lives. He constructs allegorical worlds that reflect reality in their complexity. By pulling the reader deeper into these labyrinths, Borges’ stories subtly and without mal-intent, demand a reexamination of the way we collectively relate to the world. Specifically, Borges questions the reliability of the past, something by which individuals, ethnicities and nations define themselves. Borges comments on the uselessness of attempting to determine that something is either true of false, when confronting it through writing. Therefore, the moment an act is recorded, it becomes an entity of its own: neither fact nor fiction. In “Theme o

What is it about the workings of the human mind that leads Borges to construct his own labyrinths out of words? Further, if we find ourselves fascinated by such labyrinths, why are we willing to play these intricate games. I dare to say that whether we are engaged in creating labyrinths on our own or exploring those created by others, we play these games because they have something to teach us: valuable information about our world at large or about ourselves. The discovery of the labyrinth's secrets has the potential to amaze us and leave us in a state of wonder that is, a state of confusion and clarity. Borges challenges our commonplace notions of thinking about the world. His stories invite us to expand our horizons by contemplating the labyrinth without escaping into the realm of insanity. It does not matter that we end up where we started, or that we placed our trust into something that just amounted to another story because we will return changed if we complete the journey. True or false does not matter, and the past does not define us. In any adventures, each one will teach us something valuable.

In “Three Versions of Judas,” Borges logically proves Judas to be the Son of God as a way to show the accepted interpretations of the Gospel Story is not something we should blindly adhere to. Whereas “Theme of the Traitor and the Hero” examines storytelling as it relates to literature and history, “Three Versions of Judas” addresses the relationship between storytelling and interpretation in Scripture. The story’s narrator, Nils Runeberg, begins with a confined and fundamentalist principle in assuming that “to suppose an error in Scripture is intolerable; no less intolerable is it to admit

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