https://archive.org/details/borgesreader00jorg/page/258 https://archive.org/details/borgesreader00jorg/page/358
> The title refers to a card game which is unlike those known to English and American cardplayers, though it combines features from rummy, from pinochle, from poker, and from bidding games. Bridge might be thought of as an "exponentiation," though a quieter one, apparently, of truco. Truco players do, in actuality, sing elaborate extemporized songs when they win. The Spanish deck, of forty rather than fifty-two cards, with its more realistic and charming pictures and suits, and its obvious affinity with the mystical Tarot deck, here furnishes Borges with the numerology, the charm and mysteries, the sense of autochthony and deep history, of mingled destiny and magic control, and the sense of the wonderful and frightening "other" world which he uses to produce the effect called "Borgesian." The last sentence might surely be a touchstone for Borges' entire corpus: truco is serious trifling indeed. [Note by Andrew Hurley.]
> For Borges, the truco (like chess) is a symbol of the cyclical nature of reality. The number of combinations being limited, any game of truco potentially contains all games, and any player all the players. Borges included a poem on the same subject in Fe.
More from Borges on truco in this interview from 1984 (translated):
https://thecollidescope.com/2023/07/15/through-caverns-measu...
> You know, people play chess for nothing, usually. I mean, they don’t play for money. Like in truco, for example. But in poker, yes, you play for hard cash, don’t you? — Yes. — Hard cash, yes. But not truco, no. The proof of this is that no one says, “I won so much at truco.” People say, “I beat So-and-So.”