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.

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

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

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.

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 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.