For many years I wrote regularly a series of articles and notes, some in Spanish, some in French, about Spanish political affairs.

As I began to discover my own truth and endeavored to possess it with clarity, I became more and more alienated from that which my companions held, or professed to hold.

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.

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

My exile was not only a physical one, motivated exclusively by political reasons; it was also a moral, social, ideological and sexual exile.

The fundamental purpose of a novel like Count Julian is to achieve the unity of object and means of representation, the fusion of treason as scheme and treason as language.

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

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.