This thesis explores the ways in which the Argentinian writer Jorge Luis Borges used devices, principles, and strategies that today we would call deconstructionist, to write poetry that could transcend the communicative limits of language, which according to the author himself, it is not an effective tool to truly represent what is real. To accomplish this task, we first frame our work in the context of Derrida’s Deconstructionism, specifically in the area of literary criticism, defining what it means to take a deconstructive approach to critical theory. We then introduce Borges and his ideas, situating him within the sphere of deconstructionist theory as a sort of precursor (a word that we want to use carefully here, as we will be arguing for something different from a precursor). Next, we present the hard data obtained from an experiment involving thirty-two participants, analyzing the interpretations our volunteers gave to verses and poems by Borges, and we use the significant variety of meanings that emerged from the experiment to support some of our points, offering a different and new perspective. Finally, we engage in a critical analysis of Borges’ poetry, elaborating on concepts such as symbolic system, the use of opposites, referentiality, paradoxes, circularity, reversion of author-reader role, among others. This analysis supports our theory, which posits that the processes we now classify as deconstructive play a fundamental role in Borges’ construction of poetry. In fact, it is through these processes that the Argentinian transcends the limits of language, creating labyrinths of meanings – as we call them, using some borgean terminology – where the author relinquishes control to favor readers’ own agency and, in turn, the readers can get closer to some of the author’s intentions.