Sparked in the 1920s, Borges’s interest in tangos and milongas persisted for almost seven decades, with three key periods providing rich social, political, and literary contexts for his engagement with these vernacular forms. In the 1920s, tango was the focus of debate between the rival Florida and Boedo groups, and Borges had his say in an essay of 1928. In the 1960s, he published a collection of milonga and tango poems. And in the 1980s, he used the milonga form to address the political situation and pass comment on military adventurism.