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.

I not only lived physically away from my native land, but the values and critical judgments of those closest to me became stranger and stranger.

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.

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

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

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.

Marks of Identity is, among other things, the expression of the process of alienation in a contemporary intellectual with respect to his own country.