The Maker By Borges

In his writings, Borges constructed his narrator as individuals with existential mindsets using them as a motif for questioning the moldability and understanding of memory and the role this understanding takes in knowing their own identities.
In “The Maker”, Borges uses the narrator's blindness as an euphemism for freedom and unrestricted limitations considering the narrator's approach to remembering his life before the beginning of the deterioration of his sight as more vivid than he previously thought, therefore, allowing the narrator to delve into deeper topics and changing his perception of reality preceding his blindness, thus changing the narrator’s identity and reality correlating to his role in understanding his new given identity.
In “The Witness” Borges used the death of a man, a Saxon specifically, to give the reader knowledge on how every single experience, memory, and life is unique to the individual and despite seeing parallels of an individual in another’s life, none will match a person’s life exactly as experiences are not only unique to a that single particular individual, but two experiences within the same person can always be described as indistinguishable from one another and each individual is forever changed by each and every new sensation they experience . The use of a priest as the narrator serves to establish situational irony, as a priest is often portrayed as the bridge between the heavens and the earth, and by the death of the Saxon, Borges took this Saxon's place, not only symbolizing how easy a human existence could end but also how the Saxon not only identified himself as living but also as how they [the living ] identified him as a living and compassionate Saxon. Despite no longer having an astral body, Borges
The narrator, however, delves into the idea that the author, Borges, is not him, but is the him that the general public identifies him as, “ I walk through Buenos Aires and I pause… to gaze…[at] the news of Borges reaches me by mail, or I see his name on a list of academics or in some biographical dictionary,”, the narrator is then baffled by how the people, the audience of Borges, portray the narrator as a single being instead of two separate entities, Borges, and the narrator. The narrator then attempts to distance himself from the author, Borges, through his words, “ My taste runs to hourglasses, maps, eighteenth-century typefaces, etymologies, the taste of coffee… Borges shares those preferences in vain sort of way that turns into the accoutrements of an actor”, by distancing himself the narrator allows the reader to infer that they are in fact separate people and have different opinions, however the narrator turns to say that he, “ allows himself to live so that Borges can spin out his literature and that literature is [his] justification,”. By the narrator claiming that he has no life other than to live for Borges, as he is able to create stories that exude the true idea that if the narrator were to die, then so would Borges, “ I am