Jorge Luis Borges inaugurated his writing career at the tender age of nine with the publication of a translation of Oscar Wilde's The Happy Prince in El País, a Buenos Aires newspaper (Autobiographical Essay 26). This early, precocious interest in translating and in English texts, which, as we know, flourished into a life-long attraction to the foreign and to the conundrums of translation, would be an important element in the construction of his literary career, and in the development of some of the major themes that inspired his writing. A prolific translator of texts by such figures as Kafka, Virginia Woolf, Joyce, Faulkner, Poe, Whitman, Hart Crane, Chesterton, Apollinaire, Browne, Papini, Novalis, and Hawthorne, among others, Borges has left us some of the most original and insightful ideas on the implications of translation for literature and on the relationships that are generally established between translators and authors. In The Homeric Versions (Las versions homéricas) and The Translators of the Thousand and One Nights (Los traductores de las 1001 noches), both published in the 1930s, and, more pointedly, in Pierre Menard, Author of the Quixote, written in 1939, Borges anticipates some of the main tenets of Translation Studies as the latter have been redefined in the last decade or so under the widespread influence of postmodern textual theories.