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.

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.

In Count Julian I simply proposed to create a text which would allow for diverse levels of reading.

In the Europe which was created by the Second World War, divided into two blocks, each in need of a revolution that would end the abuses and injustices of capitalism and the privileges of a bureaucratic caste, collective faith does not exist.

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.

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 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.