Manuel Puig Quotes

I felt the need to tell stories to understand myself.

What better model of a synthesis than a nocturnal dream? Dreams simplify, don't they?

My stories are very somber, so I think I need the comic ingredient. Besides, life has so much humor.

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.

I think cinema is closer to allegories than to reality. It's closer to our dreams.

I am only interested in bad taste if I can enjoy a gruesome tango or watch a movie that makes me cry.

If it's great stuff, the people who consume it are nourished. It's a positive force.

Your reality, isn’t restricted by this cell we live in. If you read something, if you study something, you transcend any cell you’re inside of

If the novelist shares his or her problems with the characters, he or she is able to study his personal unconscious.

Teaching is a good distraction, and I am in contact with young people, which is very gratifying.

It's my own personal unconscious that ultimately creates the novel's aesthetic facade.

I allow my intuition to lead my path.

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.

Being a man (male "macho") does not give you right to anything.

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.

The essayist has to follow a certain intellectual pattern. The novelist has the advantage of using fantasy, of being subjective.

For someone who writes fiction, in order to activate the imagination and the unconscious, it's essential to be free.

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.

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.

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.

Tardiness in literature can make me nervous.

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.

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.

In film, you can't go into analytical explorations because the audience will reject that.

My greatest aspiration was always to live in the tropics.

What's better, a poetic intuition or an intellectual work? I think they complement each other.

I haven't been the kind of writer about whom book-length academic studies have been written.

I only understand realism.

I'm not terribly happy about rock and roll. Certain rock music is uninspiring, numbing; it makes you feel like an idiot.

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.

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.

I believe that people who don't achieve anything in life are isolated and resent those that are successful.

My only fantasy about writing was that in my old days, after directing many masterpieces, I would write my memoirs.

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.

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.

I have written every one of my novels to convince somebody of something.

My pleasure was to copy, not to create.

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?

We should try to understand our innermost needs. We shouldn't use irony to reduce their power.

Writers are not meant for action.

Ironically, Latin American countries, in their instability, give writers and intellectuals the hope that they are needed.

I locate that special problem in a character and then try to understand it. That's the genesis of all my work.

I don't have traceable literary models because I haven't had great literary influences in my life.

Book reviews have never helped me. Most of them erred in their interpretations and their work has been a waste of time.

The translator's task is to create, in his or her own language, the same tensions appearing in the original. That's hard!

I like the beauty of Faulkner's poetry. But I don't like his themes, not at all.

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.

I write novels because there is something I don't understand in reality.

As a rule, one should never place form over content.

I didn't choose literature. Literature chose me. There was no decision on my side.