H. BUSTOS DOMECQ

'H. Bustos Domecq' (Honorio Bustos Domecq) is a pseudonym used for several collaborative works by the Argentine writers Jorge Luis Borges and Adolfo Bioy Casares.
Bustos Domecq made his first appearance as F. (Francisco) Bustos, the pseudonym under which Borges, in 1933, published his first fictional story, now known as "Hombre de la esquina rosada", ("Man from the Pink Corner") but originally titled "Hombre de las orillas" ("Man from the Slums" or more literally "Man from the Outskirts"), Francisco Bustos being the name of "one forefather's forefather" [Borges, 1954 prologue to "A Universal History of Infamy", in ''Obras Completas'', I].
He changed his first initial and acquired a second last name (which in Argentina connotes either "old money" or simply, as in the rest of Latin America, the mother's maiden name) as Borges and Bioy Casares later used the pseudonym "H. Bustos Domecq" for some of their lighter works. According to Julia Guillamon, Bustos was the name of one of Borges' great-grandfathers, and Domecq was the name of one of Bioy's great-grandfathers.
H. Bustos Domecq was the original credited author of the parodic detective stories in ''Seis problemas para don Isidro Parodi'', 1942 (translated 1981 as ''Six Problems for Don Isidro Parodi'') and ''Dos fantasías memorables'', 1946 (''Two noteworthy fantasies'').
Bustos was also the alleged author of ''Crónicas de Bustos Domecq'', 1967, (translated 1976 as ''Chronicles of Bustos Domecq''), and ''Nuevos Cuentos de Bustos Domecq'' (1977), even though the authors' actual names were featured on the covers of both books.
Under another pseudonym, Benito Suárez Lynch (both surnames were taken from the authors' illustrious ancestors), Borges and Bioy published the parodic mystery ''Un modelo para la muerte'' (''A model for death'') in 1946, featuring the characters of the Isidro Parodi stories.
The pair also did some collaborations without the use of the pseudonym, notably two movie scripts from 1955: ''Los orilleros'' (''Slum-dwellers'') and ''El paraíso de los creyentes'' (The Paradise of Believers). Both dealt with the exacerbated sense of manhood among the ''compadritos'' in the slums of Buenos Aires circa 1900.
The Bustos Domecq materials provided comic relief for cultivated Latin Americans, but also, famously, conveyed a subtle yet unambiguous pro-allied message in the 1942 edition of ''Parodi'' -- which was not a surprise for people who knew the authors but was, nevertheless, a contrarian statement given the state of Argentine politics at the time.
Note: The Isidro Parodi appears as ''Isidoro'' in some editions.