Borges tells a Universal Story that is part of World Literature; but it is also his Own Personal Story, which only he fully comprehends. Often fantastical and metaphysical concepts can be read as metaphors for personal feelings hidden within the deep private secret core of Borges's psyche. This cannot be proven of course, precisely because it is private. However, Borges did state that he had never created a character: ‘It's always me, subtly disguised.’ So I believe it is reasonable to extrapolate from the metaphysical to the personal in the way that I do in this book. Borges expresses these concepts in many different ways, which have been covered in the chapters of this book: the ‘real’ Borges versus the fictional Borges, symmetries, doubles, allusiveness, translation, and the creator. The private meanings that can be glimpsed within these abstractions are highlighted in this monograph. One of his primary modes for expressing metaphysical concepts is via allusiveness, so in this conclusion I will especially focus on the way in which, by alluding to other authors within World Literature, he tells a Universal Story; however, these allusions often conceal personal meanings, and once they are revealed his subtly disguised narrative can be read as his Own Personal Story.

Ariel de la Fuente describes Borges's ‘deliberate intent to create multiple interpretations’ of his work, so that it might endure like the Bible: ‘In relation to his conception of literature and interpretation, it is clear that Borges frequently and purposely wrote texts that encouraged and facilitated a multiplicity of readings.’ This book takes a different approach to that taken by critics such as Sylvia Molloy, Edwin Williamson, Efraín Kristal, and Robin Fiddian; and it offers new interpretations of Borges's subtly disguised narratives.

Amongst the tales that have received new readings in this book are the following: