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

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.

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

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.

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.

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.