In my opinion, the most significant works of the twentieth century are those that rise beyond the conceptual tyranny of genre; they are, at the same time, poetry, criticism, narrative, drama, etc.

But the Spain which emerged around 1960, beginning with its economic miracle, created by the invasion of tourists, can no longer result in impassioned dedication on the part of its intellectuals, and even less on the part of foreign intellectuals.

A contemporary artist can use the findings of all epochs and all styles, from the most primitive literary expressions up to the most refined products of the baroque.

The vitality of a culture is in its capacity to assimilate foreign influences. The culture that's defensive and closed condemns itself to decadence.

And with each day that passed, the gulf broadened and my isolation became more accentuated. In such a situation, the discovery that my experience was not unique, that it had also been that of other Spanish intellectuals, became very important for me.

When I write now I do not invent situation, characters, or actions, but rather structures and discursive forms, textual groupings which are combined according to secret affinities among themselves, as in architecture or the plastic arts.

And it is because a series of elements in Spanish life which operate today the same way as they did in the times of Blanco White made obvious my relationship with him, based on a similarity in Spain's condition.