Edgar Allan Poe is a well-known writer in Argentina, to the point where his works are often read as though they originated in Argentina’s national and regional literary systems rather than coming to those systems via translation. One way to make an argument about Poe and space(s) or Poe spaces in Argentina is to examine the reciprocal literary influence he shares with some of the region’s most famous authors—Horacio Quiroga, Jorge Luis Borges, Julio Cortázar—and to analyze his impact on specific literary schools and movements—for example, modernismo of the late nineteenth and early twentieth centuries. However, various scholars, myself included, have already done much of this work. In this chapter, I will turn to the literal space of the pages of Borges’s unpublished notebooks to offer a new reading of Borges’s appraisal of Poe’s poetry. As I have argued in Borges’s Poe and elsewhere, Borges recreated Poe in Argentina and throughout Spanish America by shifting his reputation from that of melancholy poet to masterful author of short fiction. This argument, while it still holds when examining Borges’s published works, needs to be reevaluated in light of the recent availability of Borges’s unpublished notebooks—manuscripts in which he often refers to Poe and takes a much kinder approach to Poe’s poems. In this chapter, I will offer a genetic reading—following the French tradition of critique génétique or genetic criticism—of two specific notebooks (that only became available for public study in 2019) to argue that Borges’s manuscripts require us to reexamine his relationship with Poe’s poems. Borges’s brief, unpublished thoughts on “Al Aaraaf,” “For Annie,” and “To Helen [Sarah Helen Whitman]” and his intertwining of his own poem “El poeta declara su nobradía” with his descriptions of Poe’s biography in these same notebooks show a respect for Poe’s poems that is missing in Borges’s published work, nuancing the Poe–Borges relationship by softening Borges’s critiques of Poe’s verse.