“The Circular Ruins” is an exploration of the trials and tribulations of the act of creation. It is also an allegory that draws on a wide array of belief structures to question the nature of dreams and reality.

Within “The Circular Ruins” is an extended metaphor comparing the creative process—in Borges’s case, writing—to giving birth. When the dreamer embarks on his task, he starts by trying to develop his son’s soul. He spends countless hours ruminating on various topics and fretting about selecting one pupil out of a myriad. However, just as he feels like progress is being made, he loses it all and realizes his methods are flawed:

He understood that the task of molding the incoherent and dizzying stuff that dreams are made of is the most difficult work a man can undertake, even if he fathom all the enigmas of the higher and lower spheres—much more difficult than weaving a rope of sand or minting coins of the faceless wind (219).

Anyone who has attempted an artistic endeavor can identify with this experience. Whether they are molding clay or developing a plotline, artists often need to stop and reframe their process to get the best results.