Zitat des Tages von Manuel Puig:
I began teaching in New York because I needed to stay in the United States and didn't have my immigration papers in order, so working for a university was a way of resolving the issue.
Teaching is a good distraction, and I am in contact with young people, which is very gratifying.
I am very interested in what has been called bad taste. I believe the fear of displaying a soi-disant bad taste stops us from venturing into special cultural zones.
All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
I think cinema is closer to allegories than to reality. It's closer to our dreams.
I'm not a best-seller, but through translations, I've accumulated some money.
I allow my intuition to lead my path.
Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature.
Most of the movies I saw growing up were viewed as totally disposable, fine for quick consumption, but they have survived 50 years and are still growing.
Writers are not meant for action.
Contrary to what Kafka does, I always like to refer all of my fictions to the level of reality, He, on the other hand, leaves them at an imaginary level.
As a rule, one should never place form over content.
It's my own personal unconscious that ultimately creates the novel's aesthetic facade.
I've always wondered why there isn't a great French novel about the German occupation. The nouveau roman authors weren't interested in telling that sort of thing.
I locate that special problem in a character and then try to understand it. That's the genesis of all my work.
If it's great stuff, the people who consume it are nourished. It's a positive force.
What's better, a poetic intuition or an intellectual work? I think they complement each other.
My stories are very somber, so I think I need the comic ingredient. Besides, life has so much humor.
The essayist has to follow a certain intellectual pattern. The novelist has the advantage of using fantasy, of being subjective.
I like the beauty of Faulkner's poetry. But I don't like his themes, not at all.
We should try to understand our innermost needs. We shouldn't use irony to reduce their power.
I believe that people who don't achieve anything in life are isolated and resent those that are successful.
I've never seen a worse situation than that of young writers in the United States. The publishing business in North America is so commercialized.
I haven't been the kind of writer about whom book-length academic studies have been written.
I do believe that reading can help you understand what you're writing and see what others are doing. But sometimes the desire for more information can act as an inhibitor.
What better model of a synthesis than a nocturnal dream? Dreams simplify, don't they?
I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.
I don't think humor is forced upon my universe; it's a part of it.
Whenever I write, I'm always thinking of the reader.
For someone who writes fiction, in order to activate the imagination and the unconscious, it's essential to be free.
I don't have traceable literary models because I haven't had great literary influences in my life.
If the novelist shares his or her problems with the characters, he or she is able to study his personal unconscious.
It doesn't matter that the way of life shown by Hollywood was phony. It helped you hope.
I believe realism is nothing but an analysis of reality. Film scripts have a synthetical constitution.
My pleasure was to copy, not to create.
I felt the need to tell stories to understand myself.