  Savile presented what he referred to as the “Borges-paradox” in order to contest some of Goodman’s claims about the individuation of works of art.  More specifically, Goodman had distinguished between “autographic” and “allographic” works, where the former, unlike the latter, are susceptible to forgery. Moving quickly, the thought is that while it is possible to make a more or less successful forgery of a particular painting, it is impossible to make a deceptive copy of a work of literature because any verbally identical instance of the text is a good copy of the work, or in Goodman’s terms, an instance produced in conformity with a system of notation (for discussion of Goodman’s distinction, see Levinson 1980b, Pillow 2003, and the entry on  Goodman’s aesthetics).