Kiss of the Spider Woman

by Manuel Puig

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Characters

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Luis Alberto Molina

Luis Alberto Molina, often referred to simply as Molina, is a window dresser imprisoned for the alleged corruption of a minor. Molina, a homosexual who prefers the feminine "a" at the end of his name, desires to be perceived as a woman. This preference reflects his belief that in romantic relationships, the male should be dominant while he remains passive. Molina's extraordinary memory for films allows him to recount the plots of classic Hollywood movies, which he shares with his cellmate Valentin, both as a means of entertainment and a tool of distraction from their grim surroundings. Pamela Barcarisse describes the "hyper-feminine" Molina as "one of the truly great creations in modern fiction."

While in prison, Molina is coerced by the authorities to gain Valentin's trust to extract information about his revolutionary comrades with the promise of a potential early release. However, Molina's compassionate and nurturing nature leads him to form a genuine emotional bond with Valentin, whom he nurses back to health when Valentin becomes ill from doctored prison food. Molina ingeniously secures safe food from the warden, ensuring Valentin's continued well-being. Despite the opportunity for freedom, Molina's loyalty remains with Valentin, and he refuses to betray him to the authorities.

The relationship between Molina and Valentin evolves from initial disdain to profound affection, culminating in their becoming lovers. Upon Molina's release, he carries Valentin's vital information to his revolutionary comrades. Tragically, Molina's mission leads to a fatal encounter with government agents and eventually, the revolutionaries, who suspect him of being a potential informer. Molina's selflessness and his wish to die as a "heroine" remain pivotal aspects of his character, underscoring a narrative of sacrifice and loyalty.

Furthermore, Molina’s motivations for seeking release are also tied to his personal life, particularly his concern for his mother’s fragile health, accentuating his multidimensional nature. Nonetheless, his ultimate devotion to Valentin and Valentin’s revolutionary cause illustrates a profound arc of transformation and dedication.

Valentin Arregui Paz

Valentin Arregui Paz, a staunch Marxist revolutionary, is held indefinitely as a political prisoner. Initially, Valentin, a "man’s man," regards Molina with disdain due to his homosexuality and apolitical stance. Valentin's belief that emotions are a weakness necessary to eschew for revolutionary commitment gradually shifts due to Molina's persistent companionship and storytelling abilities.

Over time, Valentin becomes more tolerant of Molina's penchant for romantic films, which he narrates in vivid detail. As Valentin reflects on his past relationships, he realizes that he yearns not for his politically aligned girlfriend but for Marta, his ex-lover who was uninterested in politics and devoted solely to love. This self-revelation softens Valentin's demeanor, ultimately making him gentler and more affectionate towards Molina, leading to the intimacy they share.

As Valentin faces deteriorating health, he becomes increasingly reliant on Molina, whose care fosters a deep emotional attachment. After Molina's departure from prison, Valentin is subjected to severe torture by prison authorities, resulting in grievous injuries. In a desperate moment, Valentin accepts a clinician's offer of morphine, which provides an escape into a fantasy where he is rescued by Marta and taken to an idyllic island, far removed from the brutality of his reality.

Valentin's internal conflict between his ideological dedication and his enduring affection for Marta is encapsulated in this morphine-induced dream, where Marta assures him, "this dream is short but this dream is happy." This poignant vision highlights Valentin's struggle as he grapples with personal desires amid political ideals.

Marta

Marta, Valentin's former lover, is a woman from the upper echelons of society whom he initially renounced due to his political beliefs. Despite perceiving her as a...

(This entire section contains 697 words.)

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symbol of the oppressive establishment, Valentin finds that his love for her endures, contrasting with his revolutionary ideology. In the narrative's conclusion, Valentin's morphine-induced hallucination depicts Marta coming to liberate him from his misery and guiding him to a fantasy island. This dream sequence serves as a profound exploration of Valentin's duality—his commitment to revolutionary pursuits versus his persistent emotional attachment to Marta. The dream culminates in a touching moment where she reassures him, "this dream is short but this dream is happy," embodying the intersection of political ideals and personal longing.

Themes / Characters

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Through the characters of Molina and Valentin, Puig explores numerous contrasts, many of which have appeared in his earlier works. Notably, he highlights the typical opposition between the sensitive, creative, effeminate character and the strong, emotionally reserved man of action. In this story, the latter is a solitary revolutionary who sacrifices personal desires to achieve his political objectives. Valentin diligently studies his political science books, while Molina helps them pass the time by recounting elaborate movie stories — the more fantastical, the better. This dynamic raises the recurring theme of escapism versus commitment to positive action, along with the inevitable question of the artist's role. As Molina narrates one of his favorite films, set in Nazi-occupied France, Valentin critiques it as blatant Nazi propaganda. Whether this notion has even crossed Molina's mind is unclear, but it does not diminish his enjoyment of the film, as the romantic heroine captivates his imagination. Thus, the significant issue of art's responsibility to truth and morality is introduced, but remains unresolved.

Undoubtedly, Molina, who arranges for clean sheets and exotic foods, and who makes the hours pass pleasantly with his movie stories, embodies a quality of imagination that renders life bearable. He embellishes reality, transforming the prison cell into a sanctuary. One might then ask, what is wrong with maintaining such a world of illusion? Perhaps, Puig suggests, imagination is all there is. Valentin, conversely, is so dedicated to his idealistic political vision that he denies himself even the illusion of love, as it would distract him from the more pressing matters of the revolution. Valentin imposes strict demands on himself and expects others to adhere to the same moral standards. His loyalty is to a political ideal, a principle, never to an individual. In contrast, Molina's life is guided by his love for a select few — a young waiter, his mother, and eventually Valentin.

Molina, embodying the "spider woman" of the title, ultimately entangles Valentin in his web of stories and seduces him both metaphorically and literally. Concurrently, Valentin persuades Molina that his life of pretending to be a woman is frivolous and lacking commitment, urging him to engage in political activism. As they share their aspirations, Molina begins to adopt Valentin's identity. Upon his release from prison, he attempts to deliver a message to Valentin's comrades. He dies in the process, an effort driven more by his love for Valentin than by any true political conviction. Following his death, Valentin questions whether Molina was simply enacting another romantic fantasy, playing his part with the enthusiasm of a movie heroine. In the end, the two men appear to swap identities: Molina dies in action, while Valentin drifts into a pleasant, morphine-induced dream of the girlfriend he sacrificed for the revolution. Furthermore, a closer look reveals that Valentin's idealistic beliefs in a grand cause might be just as fanciful as Molina's cinematic stories. This identity exchange is characteristic of Puig, showcasing the resemblance between seemingly opposite positions and illustrating how the human mind creates fictions to live by.

As seen in Puig's earlier novels, the central theme here is the individual's betrayal by the illusions they live for. However, in this novel, Puig seems to acknowledge that without these fictions, regardless of how they trap their victims, there isn't much left but the harsh reality of a prison cell. Puig, as the author, also serves as a metaphorical spider woman. The novel's conclusion, "This dream is short but this dream is happy," reflects on the story itself and reaffirms the significance of the world of illusion.

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