Print restricts the depiction of this bifurcation, the forking in time and space, the ‘several futures’ Borges is talking about. Throughout his collection of fictions the themes of labyrinths and mirrors are recurring because Borges is interested in representing multiple existing realities. He constructs narratives that play with the concepts of end and beginning, real and unreal, cause and effect. The labyrinths and the Aleph of his famous story through which one can see everything, are the symbols he utilises to describe this world of multiple possibilities.

The Garden deals with the limited capacity of the narrative to represent time. Borges imagines this book where unlike conventional fiction, the plot evolves in different directions at the same time. Borges’ metaphysical thinking mixes the concepts of multiplicity and uniqueness with reference to time. The textual representation of his aesthetics makes use of non linearity, multi sequentiality and non conclusive endings. One might find himself rereading passages of his stories after reaching the end of them. The Garden is full of words, sentences that seem to relate to other pieces of the story, most of them to the last two paragraphs.

These trails through the text seem to construct the paths of a labyrinth. Borges builds a narrative of a labyrinthine structure to talk about a book that is a labyrinth. This literary game is evident from the title. The short story ‘Garden of Forking Paths’ talks about a book of the same name and itself is one of the eight stories of a collection named ‘Garden of Forking Paths’. Some theorists regard his literary idiom as a comment on the stagnancy of literature. He describes it as being baroque.

The virtues of such a multilayered mental construction are considered to coincide with hypertext. Hypertext, interactive hyperfiction makes use of links and text blocks. It creates a text that is open, unbound and expandable. It can be described as a network with multiple entrances and exits, no specified ends or beginning. In this maze like structure all external and internal references of the text can be visually present, unlike print. Therefore hyperfiction is multilinear and multisequential. It has no central axis on which it develops. Just like Borges’ Garden all possibilities can be realised at the same time. Intertextuality, the dialogue between texts, a single corpus’ allusions and references, can be directly linked as nodes. They are not considered marginal, peripheral pieces of writing, as there is no such hierarchy in hypertextual environments. The various interconnections constitute possible orders, in which the text nodes can be assembled and read. Each order provides a different hierarchy and orders can be infinite if the text is always expanding.