for civil rights or due process." Therefore, Valentin is "a plausible example of the measures many people of conscience were driven to take under the extremely repressive conditions reigning in Puig's homeland at the time."

Narration

Puig is renowned for his experimental narrative style, which merges dialogue, letters, official reports, and even footnotes into a cohesive story without a conventional narrative voice. Critics have observed that this narrative technique compels the reader to engage more actively in the storytelling process, as they must piece together the gaps left by the omissions in the narrative.

Characterization

Puig's novel features a limited number of main characters, specifically Molina, Valentin, and Marta. Each character symbolizes not just an individual but a broader social and political spectrum. Valentin represents the young political radicals involved in revolutionary activities in 1970s Argentina, while Molina epitomizes the general condition of homosexuals in Latin American culture. Puig uses these characters to delve into social issues that concern him, particularly homosexual rights and political activism. Additionally, certain characters reflect specific social strata within Argentine society; for example, Marta represents, especially to Valentin, the privileged class against which Marxist revolutionaries fight. Valentin's struggle to reconcile his personal desires with his political ideals serves as Puig's commentary on the internal conflicts faced by revolutionary activists. Similarly, Molina, despite being part of an oppressed group, fails to see his sexual orientation as a political issue, which Puig uses to comment on the necessity for homosexuals to engage in the political struggle for their rights.

Literary Heritage

Latin American literature is often recognized for its use of magical realism. This literary style addresses social issues but cloaks them in magical or fantastical symbolism. Magical realism is exemplified in the works of Gabriel Garcia Marquez, a pioneer of this genre, as well as in the writings of Julio Cortazar, Jorge Luis Borges, and Carlos Fuentes. These authors were key figures during the Boom period of the 1960s, a time when Latin American literature gained global recognition and acclaim.

Manuel Puig stands out as one of the most notable Latin American Post-Boom authors. His writings are characterized by experimental narrative techniques and unconventional forms, influenced by his fascination with popular culture and his early career in film and screenwriting. While Puig ushered in a new era in Latin American literature that merges literary and nonliterary forms, his works retain the elements that have defined this culture for decades. Puig's works aim not only to create innovative fiction that challenges traditional notions of literature and art but also to express social and cultural critiques. In his critically acclaimed Kiss of the Spider Woman, Puig explores Marxist political philosophy and its impact on public and political spheres, particularly on individuals questioning their roles within society. Elements of magical realism are also present in the novel, as the main characters engage in acts of fantasy and escapism.

In his signature style, Puig replaces third-person narration in Kiss of the Spider Woman with narrative parataxis, which involves juxtaposing various types of text. The story primarily unfolds through dialogue between the two main characters, covering topics from prison life and the discomforts of diarrhea to elaborate movie plots. These film sequences occupy up to a third of the novel and highlight Puig's unique ability to verbally recreate cinematic images and integrate popular media into his work.

While it may seem that Puig contrasts the fantastical movie scenes with the harsh reality of prison life, he actually uses the film sequences to comment on the novel's events, encoding the dynamic between the two characters. The film scenes act as a metaphorical commentary on the narrative, while Puig also includes clinical footnotes detailing various theories on homosexuality, adding another layer of reflection. The plot progresses, caught between the scientific language of these notes and the romantic tropes of the films.

Additionally, there is a stark contrast in the narrative when it shifts from the growing intimacy between the two men to an official, highly detailed report on Molina's activities after his release, which dehumanizes him by referring to him as "the subject." Through this, the novel presents diverse modes of discourse, each reflecting reality in different ways.

In "Kiss of the Spider Woman," various settings intertwine to shape the emotional and thematic landscape of the novel. Through vivid recollections and imaginative dreams, the narrative explores the contrast between confinement and freedom. Each location, from the oppressive atmosphere of Argentina to the dream-like settings depicted in films, deepens the connection between the protagonists, Valentin and Molina, as they navigate their complex relationship within the confines of their prison cell.

Argentina: The Restricted Reality

The novel is set in Argentina, a country characterized by its precarious socio-political condition. The prison cell housing Valentin and Molina serves as a microcosm of the broader Argentine turmoil. In this harsh environment, Valentin, a revolutionary, and Molina, who finds solace in storytelling, begin to feel a sense of safety within the prison walls, highlighting the danger and uncertainty outside. Argentina, with its rampant crime and revolutionary struggles, mirrors the internal battles faced by the characters.

Dreams of a Tropical Island

Valentin's dream of a lush, unnamed tropical island embodies a sanctuary of escape and desire. This island, constructed from the cinematic tales Molina shares, symbolizes an emotional refuge. In the dream, a mysterious woman, spinning webs from her body, represents Molina and his enchanting storytelling. This dreamscape not only emphasizes the romantic bond forming between Molina and Valentin but also underscores the power of imagination as a form of liberation.

Romance Amidst Conflict: Paris and France

France emerges as a notable setting through the films Molina recounts, particularly in "Her Real Glory," set in wartime Paris. Despite the backdrop of conflict, the city's portrayal is steeped in romance and grandeur, serving as a metaphor for Molina and Valentin’s relationship. The lovers in the film find themselves battling a common adversary, paralleling the duo's struggle against the oppressive Argentine prison system. Through vivid descriptions of iconic Parisian locales, the narrative juxtaposes love and conflict, enhancing the romantic tension in the storyline.

The Allure of New York City

In stark contrast to the claustrophobic setting of the Argentine prison, New York City is depicted vibrantly in Molina's recounting of the 1942 horror film "Cat People." Symbolizing freedom and possibility, the city stands in opposition to the characters' confined reality. While Molina and Valentin remain trapped, New York represents a world where individuals, like the film's character Irene, navigate life with autonomy and choice, further highlighting the disparity between their dreams and reality.

Isolation on a Caribbean Island

A Caribbean island, the backdrop for another film Molina recalls, shares an eerie resemblance to the prison's isolation. Within the film's narrative, the island is haunted by zombies, amplifying the sense of entrapment mirrored in Molina and Valentin's experiences. This setting reinforces the theme of captivity, whether it is literal in the prison or metaphorical in the island’s haunting atmosphere.

Confinement on the Mexican Coast

The Mexican coast, featured in another of Molina's cinematic tales, provides yet another reflection on the nature of captivity. Here, the heroine, despite being in a seemingly idyllic location, feels trapped, much like Molina. Her disguise, donned to conceal her identity, parallels Molina's own struggles with gender identity and societal perception. Through this narrative, the novel explores how confinement can transcend physical barriers, capturing the essence of feeling imprisoned regardless of one's surroundings.

Kiss of the Spider Woman takes place almost entirely within a prison cell in a Latin-American country, centering on a conversation between two inmates: one imprisoned for homosexuality and the other for revolutionary activities. As expected, the novel is steeped in a strong sociopolitical context. The political regime depicted is clearly repressive, resembling a police state. Molina, the homosexual inmate, is manipulated by prison officials to extract information from Valentin, the revolutionary. Molina is eventually released but is closely monitored by officials who employ alarmingly advanced surveillance methods. Meanwhile, Valentin undergoes brutal torture by the authorities in their attempts to force information out of him. Although these events are not the central focus, they serve as a stark reminder of the harsh political realities that exist in some Latin-American countries—a theme unprecedented in Puig's previous works.

Against this political backdrop, Puig seems to address the issue of an individual's moral responsibility in political engagement. However, the novel does not advocate for any specific stance or action. Instead, it presents both perspectives through the characters of Molina, the escapist, and Valentin, the political activist. True to his style, Puig also delves into how individuals adapt to desperate situations through acts of imagination.

Puig teamed up with director Hector Babenco to create a film adaptation of Kiss of the Spider Woman, which debuted at the Cannes Film Festival in 1985. The film garnered outstanding reviews, with William Hurt winning both a Cannes Film Festival Award and an Academy Award for his role as Molina. The adaptation remains quite faithful to the original work, especially in its use of Puig's dialogue. However, while the novel's filmic imagery lends itself naturally to adaptation, a crucial element is lost: the author's skill in capturing screen images through prose.

The film addresses this by having the character start narrating the film before transitioning to a visual presentation. Babenco sensitively handles this shift, depicting a 1930s-style movie scene that is gauzy and nostalgic. Nonetheless, the mixed-media effect inherent in the original is inevitably lost. Furthermore, the novel includes several movie stories that provide commentary on the unfolding narrative, but the film version incorporates only one of these.

Also absent are the various types of texts Puig weaves into his narrative, such as textbook-style footnotes and records of Molina's surveillance by authorities. The film misses the subtle commentary that arises from Puig's characteristic juxtaposition of these elements. Despite these omissions, the adaptation remains a highly successful representation of the novel. Additionally, Puig wrote a stage adaptation of Kiss of the Spider Woman.

Sources

Barcarisse, Pamela. Impossible Choices: The Implications of the Cultural References in the Novels of Manuel Puig. University of Calgary Press, 1993, pp. 2, 4.

Kerr, Lucille. Dictionary of Literary Biography, Volume 113: Modern Latin American Fiction Writers, First Series. Gale, 1992, pp. 235-47.

Tittler, Jonathan. Manuel Puig. Twayne, 1993, pp. vii, viii, 1, 5, 47, 51-52, 123.

Further Reading

Borges, Jorge Luis. Collected Fictions. Viking, 1998. A compilation of short stories by the world-famous Argentine author.

Martinez, Tomas Eloy. Santa Evita. Vintage, 1996. A novel inspired by the life of the iconic Argentine political figure Eva Peron.

Mitchell, Mark, ed. The Penguin Book of International Gay Fiction. Viking, 1995. An anthology of short stories and excerpts, including a piece from Puig's Betrayed by Rita Hayworth.