The fundamental purpose of a novel like Count Julian is to achieve the unity of object and means of representation, the fusion of treason as scheme and treason as language.

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.

The writer cannot abandon himself simply to inspiration, and feign innocence vis a vis language, because language is never innocent.

My exile was not only a physical one, motivated exclusively by political reasons; it was also a moral, social, ideological and sexual exile.

In times when religious or political faith or hope predominates, the writer functions totally in unison with society, and expresses society's feelings, beliefs, and hopes in perfect harmony.

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.

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.