Hay paginas, hay capitulos de Marcel Proust que son inaceptables como invenciones: a los que, sin saberlo, nos resignamos como a lo insipido y ocioso de cada dia. For Borges, the psychological novel (.) prefiere que olvidemos su caracter de artificio verbal y hace de toda vana precision (o de toda languida vaguedad) un nuevo toque verosimil. Its intrinsic and boundless freedom is equivalent to total disorder. Since the psychological novel tends to portray the real world with its infinite possibilities, it is shapeless. The comparison between psychological and adventure novels relies a great deal on a similar rationality. The above-mentioned processes are implicit in Jorge Luis Borges's prologue (1940) to Adolfo Bioy Casares's La invencion de Morel. The frenetic and precise causality of this process makes the resulting plot fully reasoned, limited and teleological. That is, it obeys not just natural laws, but also the laws of imagination. The magical process allows this to happen, since it obeys a general law: "la de la simpatia, que postula un vinculo inevitable entre cosas distantes" (117-8). Todo episodio, en un cuidadoso relato, es de proyeccion ulterior" (119-20). As opposed to the disorder of the real world, the novel "debe ser un juego preciso de vigilancias, ecos y afinidades. In Borges's mind, however, the novel should not be natural, but artificial. Due to Borges's vision of a chaotic real world, this natural process continuously results in an endless and uncontrollable number of operations. The natural process represents "una de las variedades del genero, la morosa novela de caracteres, finge o dispone una concatenacion de motivos que se proponen no diferir de los del mundo real" (117). He distinguishes between two causal processes of writing narratives: the natural process and the magical process. IN his 1932 essay, "El arte narrativo y la magia," Jorge Luis Borges postulates causality as the central problem of the novel.
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