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Manuel Puig [1932-1990] Argentinian

Rank: 103
Author

Manuel Puig was an Argentine author.
Among his best-known novels are La traición de Rita Hayworth, Boquitas pintadas, and El beso de la mujer araña, which was adapted as the film Kiss of the Spider Woman, directed by the Argentine-Brazilian director Héctor Babenco; and as the Broadway musical Kiss of the Spider Woman.

Dreams, Humor, Beauty, Imagination, Movies, Poetry, Positive

Quote	Tags	Rank
What better model of a synthesis than a nocturnal dream? Dreams simplify, don't they?	Dreams	101
It's essential not to have an ideology, not to be a member of a political party. While the writer can have certain political views, he has to be careful not to have his hands tied.		102
If it's great stuff, the people who consume it are nourished. It's a positive force.	Positive	103
I like the beauty of Faulkner's poetry. But I don't like his themes, not at all.	Beauty, Poetry	104
It's my own personal unconscious that ultimately creates the novel's aesthetic facade.		105
I've always wondered why there isn't a great French novel about the German occupation. The nouveau roman authors weren't interested in telling that sort of thing.		106
I'm not terribly happy about rock and roll. Certain rock music is uninspiring, numbing; it makes you feel like an idiot.		107
Teaching is a good distraction, and I am in contact with young people, which is very gratifying.		108
Tardiness in literature can make me nervous.		109
Most of the movies I saw growing up were viewed as totally disposable, fine for quick consumption, but they have survived 50 years and are still growing.	Movies	110
I locate that special problem in a character and then try to understand it. That's the genesis of all my work.		111
I felt the need to tell stories to understand myself.		112
I allow my intuition to lead my path.		113
What's better, a poetic intuition or an intellectual work? I think they complement each other.		114
The translator's task is to create, in his or her own language, the same tensions appearing in the original. That's hard!		115
I have written every one of my novels to convince somebody of something.		116
Book reviews have never helped me. Most of them erred in their interpretations and their work has been a waste of time.		117
My stories are very somber, so I think I need the comic ingredient. Besides, life has so much humor.	Humor	118
My only fantasy about writing was that in my old days, after directing many masterpieces, I would write my memoirs.		119
It doesn't matter that the way of life shown by Hollywood was phony. It helped you hope.		120
Ironically, Latin American countries, in their instability, give writers and intellectuals the hope that they are needed.		121
In film, you can't go into analytical explorations because the audience will reject that.		122
If a spectator with a philosophical mind, somebody accustomed to reading books, gets the same kind of information in a movie, he might not fully understand it.		123
I think cinema is closer to allegories than to reality. It's closer to our dreams.	Dreams	124
I do believe that reading can help you understand what you're writing and see what others are doing. But sometimes the desire for more information can act as an inhibitor.		125
I can work in films as long as the story doesn't have a realistic nature. If I'm working with an allegory, a fantasy, it can be developed in synthetic terms.		126
I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.		201
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.		202
For someone who writes fiction, in order to activate the imagination and the unconscious, it's essential to be free.	Imagination	203
As a rule, one should never place form over content.		204
All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.		205
Writers are not meant for action.		206
Whenever I write, I'm always thinking of the reader.		207
We should try to understand our innermost needs. We shouldn't use irony to reduce their power.		208
The writer needs to react to his or her own internal universe, to his or her own point of view. If he or she doesn't have a personal point of view, it's impossible to be a creator.		209
The essayist has to follow a certain intellectual pattern. The novelist has the advantage of using fantasy, of being subjective.		210
One performs a very different act when reading a movie and when reading a novel. Your attention behaves differently.		211
My pleasure was to copy, not to create.		212
My greatest aspiration was always to live in the tropics.		213
Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.		214
Kafka truly illustrates the way the environment oppresses the individual. He shows how the unconscious controls our lives.		215
In a country like France, so ancient, their history is full of outstanding people, so they carry a heavy weight on their back. Who could write in French after Proust or Flaubert?		216
If the novelist shares his or her problems with the characters, he or she is able to study his personal unconscious.		217
I've never seen a worse situation than that of young writers in the United States. The publishing business in North America is so commercialized.		218
I'm not a best-seller, but through translations, I've accumulated some money.		219
I write novels because there is something I don't understand in reality.		220
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.		221
I would very much like to become a best-selling author.		222
I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.		223
I only understand realism.		224
I haven't been the kind of writer about whom book-length academic studies have been written.		225
I had stories that needed more space than the hour and a half or two hours a movie gives you.		226
I don't want to name names, but the least I can say about rock and roll is that I'm suspicious.		301
I don't think humor is forced upon my universe; it's a part of it.	Humor	302
I don't have traceable literary models because I haven't had great literary influences in my life.		303
I didn't choose literature. Literature chose me. There was no decision on my side.		304
I believe that people who don't achieve anything in life are isolated and resent those that are successful.		305
I began teaching in New York because I needed to stay in the United States and didn't have my immigration papers in order, so working for a university was a way of resolving the issue.		306
I am very interested in what has been called bad taste. I believe the fear of displaying a soi-disant bad taste stops us from venturing into special cultural zones.		307
I am only interested in bad taste if I can enjoy a gruesome tango or watch a movie that makes me cry.		308
Contrary to what Kafka does, I always like to refer all of my fictions to the level of reality, He, on the other hand, leaves them at an imaginary level.		309

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