Read Поцелуй женщины-паука by Manuel Puig Мануэль Пуиг Антон Ильинский Online

Поцелуй женщины-паука

Виртуозно сочетая наивность старых голливудских фильмов со стереотипами поп-культуры, смело обращаясь к теме нетрадиционных сексуальных отношений, Пуиг создает роман "Поцелуй женщины-паука", по которому в 1985 г. поставлен оскароносный фильм с Уильямом Хёртом в главной роли, а в 1992 г. - восхитительный бродвейский мюзикл (семь наград "Тони")....

Title : Поцелуй женщины-паука
Author :
Rating :
ISBN : 5941451830
Format Type : Hardcover
Number of Pages : 317 Pages
Status : Available For Download
Last checked : 21 Minutes ago!

Поцелуй женщины-паука Reviews

  • Fabian
    2019-06-11 20:30

    More than anything, this book gets me excited about the possibilities of writing! Puig revolutionizes the way the novel is framed: his awesome work is a play, a stream of consciousness, a historic document, a research paper, a review of films... it's ALL these things in one poignant & EXTREMELY hard-to-put-down novel!The two main characters (Molina, the sad, deceitful & complex "Spider Woman," who lures and tests the headstrong Valentin) hold entire worlds inside of them. They are both outcasts, tragic creatures, perhaps two of the most human characters ever devised in these terrains. The story seems to go nowhere and then also everywhere. Symbols abound, explanations (like the Freud footnotes) are sometimes completely irrelevant & yet try to explain something we could have ourselves observed in less complicated terms. I beg to compare this to "Of Mice and Men", to that relationship between strong male. But this one is better.PS The Broadway production of "Spiderwoman" is one of the most underrated plays in ALL of human history!

  • MkB
    2019-05-31 14:41

    -- What are you reading?-- Kiss of the Spider Woman.-- Hey, I've heard of that.-- Likely because of the movie that was made of it.-- How is the book?-- Fantastic. Essentially all dialogue, but somehow all the more descriptive for it.-- Huh. You gonna finish those fries?

  • Jessica
    2019-06-19 20:46

    So funny thing, I actually started this book once when I was a kid, maybe about nine years old? Strangely, I thought I remembered what I'd read really clearly, but then on this rereading realized I'd read more of it before than I'd previously realized. Also funny, my passion for this book waned around the same place this time as when I was nine, though this time I stuck with it and followed through to the end.So this book takes place in a Latin American prison cell occupied by a political prisoner and a window-dressing, mama-adoring homosexual. The beginning, and much of the novel throughout, is the gay guy recounting old films he's seen, in incredible detail.Okay. So. All you English majors out there probably know what these are called, the fantastical, shimmering stories-within-stories that are so much more purely imaginative and sensual and far out than the main story itself ever could be -- you know what I mean, like the interludes in Don Quixote and Judy Blume's Starring Sally J. Freeman as Herself and Margaret Atwood's Lady Oracle and a thousand other books I can't think of right now.... There's something about those kinds of stories that I really wish I could get at here, but I probably can't. What are they like? They're like the icing, but you can't just eat the can of icing (not that I haven't, but it isn't good, or it is, but it makes you nauseous). The stories are like the silk rose on your underpants, but you can't just have underpants made up of silk roses. They're the non-porn sex scene, the roller coaster drop, the hook of the song, the cherry on the sundae, the beauty mark, the car detailing, the best part of the show.... I know these are super lame, useless, pedestrian analogies, but I've been wanting to write this review for days and the right words just haven't come, so in the end I thought I'd just say what I could and appeal to you all for help. Do you guys know what I mean? I mean the thing that is the best thing, but you can't have it just alone, because it isn't good by itself. You can't have just holidays all the time every day, they don't mean anything without the mundane regular days in between..... These stories-within-stories are like that. I know writers have tried to do away with the dull base as much as possible -- Chaucer springs to mind? -- and just have the stories, but it isn't the same rush and delight. Why is that?Well, I guess some of that's extremely obvious. The films in this book are so beautifully told that it's a just a pure pleasure to read them, but what makes them so compelling is knowing these characters and experiencing what it is to consume these narratives both directly yourself, but also through them. The first film in here, an erotic horror movie about a panther woman, I remembered clearly from my childhood reading of this book, and this time I realized that back then I got partway through the second film, which is a completely over-the-top Third Reich propaganda romance, before the nine-year-old me got freaked out and confused by the Nazi element, and bored with the two grown-man prisoners, so then bailed for a Sweet Valley High or something.Anyway, I just loved the first half of this book. In my scoring system, a four-star book is one I think about when I'm not reading it and am always excited to pick up, while a three-star is one I have to push myself a little to return to sometimes, out of a sense of obligation and desire to get through. Kiss of the Spider Woman shifted from a four to a three about midway through, which had not a little to do with the footnotes.Footnotes in fiction.... well, we should not speak ill of the dead, and sometimes they're good, but in general they are.... not.... always.... my favorite thing. Especially here. The footnotes here felt like the total opposite of those sugary, thrilling stories-in-story: they were the sand in the spinach, the fly in my soup. Who was supposed to be writing these footnotes? At first I thought it was like an annotated transcript compiled by the jailers, but that wasn't it. Will someone who's read this please explain what the hell these Freud and Marcuse footnotes about the etiology of homosexuality were about? Because I just really didn't get it at all. Was he trying to make an analogy between homosexuality and Marxism? For awhile it seemed like that was where he was going. Was Puig trying to say that commies are fags? Because I've heard that before, and I'm not sure he needed all the psychoanalytic footnotes to say it, he could've just had a mean fratboy pop his head in the cell and make that point.... I mean, I don't know, maybe I'm just cranky, because I don't think that's necessarily a bad point if that was where he was going with it, but I can't help it, the footnotes just really screwed things up for me. Maybe I'm too dumb and impatient, I don't know, but I just found them distracting and incomprehensible.... And it sucks when you're reading something and you just don't get it! So yeah, maybe it's my own fault, but the footnotes were a huge problem for me, and really yanked me out of the narrative, which was sad because for the most part I really did love this book.Oh yeah, so far this isn't much of a review. I did really like this book, which is beautifully written, and I'd love to see the movie, which I bet is good, especially since this reads like a script -- or actually scripts. It was a lovely thing to read right after Darkness at Noon, and I feel it'd be a nice segue to Our Lady of the Flowers, but I'm not sure I'm up for that right now. Kiss of the Spider Woman is one of the most romantic books I've read, and it made me realize yet again what a sucker I am for romance novels. If you, too, are secretly enamored of love, movies, and/or storytelling, you should probably read this. I liked what I personally took Puig to be saying about love, which might be that love is a childish fallacy, a campy pasteboard concoction, a screen for vile propaganda, an escape, a distraction, a desperation, a helpless Freudian outgrowth from early childhood.... but also it's everything. In the end, it's all there is. And maybe that's corny and not what he meant, but that's what I got, and I'll buy it.I'm really sad because I read Rachel's gorgeous edition with the spectacular movie cover of the lovely blue Spider Woman with her ferns and her web, and it's not an option on here, and it's so beautiful I can't even stand it! Can anyone fix that?

  • Hadrian
    2019-05-30 15:26

    This is a book which uses all but the usual narrative methods. Conversation, transcripts, reports, foot notes, movie summaries, everything but the usual descriptive linear way. The story is about two prisoners - Arregui, with political charges, and Molina, for 'corrupting the youth' - that is, homosexuality. The conversations are about films, the stories about them. Molina tells a story about what must be a romance made in Nazi Germany, a racist propaganda piece, but he finds the emotions in the romance behind it. It is a story about hiding, reminisces, dreams. Of course the main plot twist, (view spoiler)[that Molina is a spy for the prison warden, also complicates matters. He develops feelings for Arregui, and dies while trying to pass a message along for Arregui's friends. Puig makes the assertion that Molina imitates the romantic heroes of his movies, and ties this into the strange psychosexual theories about homosexuality he scatters in the footnotes. (hide spoiler)]Even despite all these bizarre theories about love, which seem so silly now. This is a story, real, romantic, and not yet maudlin.

  • Francisco H. González
    2019-06-06 14:35

    Mi primer acercamiento a Manuel Puig (1932-1990) ha sido a través de esta novela publicada en 1976. El resultado no ha podido ser más satisfactorio. La novela no puede ser más triste y luminosa al mismo tiempo. Se puede leer desde distintos planos, ya sea el histórico: la novela se ambienta en 1975 en Argentina poco antes de que la dictadura se aupara al poder. El plano sociológico, con dos presos, uno preso político, Valentín, ligado a la izquierda armada revolucionaria. El otro, Molina (llamado Molinita) acusado de pervertir menores, que se considera a sí mismo, una loca, una mujer. El plano humano: dos mundos, a priori, antagónicos, que convierten la celda en una isla desierta, donde más allá de las presiones externas, permite a cada uno de ellos quitarse la careta, mostrarse como realmente es, asumiendo sus contradicciones y deseos, y entonces, camino del autoconocimiento, todos esos mimbres que sostienen el pensamiento, todo ese armazón teórico, se viene abajo, ante la cercana e ineludible humanidad -singularizada en el otro, en el compañero de catre-, ya al crudo, al natural. Puig mete elementos de suspense muy bien resueltos y lleva al lector por donde él quiere, porque la novela pega un cambio radical en un determinado momento y luego está por ver si este hecho clave será llevado por el actor hasta sus últimas consecuencias, cuando están en juego la confianza, la amistad, la lealtad, la traición, el egoísmo, la dignidad, la desesperanza...Oportuna la comparación de esta novela con Las mil y unas noches, pues a fin de hacer pasable el puré de la espera y la holganza, Molina, dotado de una buena memoria y seguramente mejor inventiva, va refiriendo a Valentín las películas que ha visto los últimos años, lo que les permite a ambos, ir enjuiciando lo dicho, adoptando personajes, cuestionando ciertas acciones y en definitiva vivificarse gracias a las palabras que vertemos al exterior. Historias dentro de historias que convierten la narración en una mamushka.Puig maneja diferentes formas de narrar, incluyendo incluso el argot propio de las diligencias policiales en el penal o en el seguimiento de los presos puestos en libertad, o esas narraciones fílmicas en las que el lenguaje es más llano, muy pegado al hablar de la calle, sin barroquismos, ni efectismos. A pesar de ser una novela corta, poco más de 200 páginas, es compleja, profunda y tan subyugante que son de esas novelas que uno quisiera leer del tirón. Novelón.

  • Lacolz
    2019-06-07 14:34

    —¿Te imaginas una historia donde pones a un preso político compartiendo celda con un homosexual?—¿Un rojillo y un travesti?—Sí, algo así. ¿Te lo imaginas?—Sí. Y de hecho, más que imaginarlo, eso ya lo he leído.—¿Y qué tal?—Bueno, pues así como lo planteas, de entrada, no suena mal, pero no le estás haciendo justicia a la novela, al autor.—¿Por?—Bueno, así como lo planteas dejas de lado muchas cosas.—Pero es que sólo es una pregunta detonante.—De todas maneras, no transmites la indiferencia del uno al principio, la emoción del otro por contar y contar películas y de socializar, de involucrarse, dejas de largo cómo la indiferencia se va convirtiendo en amistad y fraternidad y otras cosas más, y muchas otras cosas más.—Bueno, sí, pero… no resulta tan fácil plantear todo eso en una sola línea, en una primera línea. En una única pregunta detonante.—Dejas de lado las historias de cómo llegaron allí, el por qué, y a dónde quieren ir a dar y dejas de lado la técnica peculiar en la que está escrita toda la novela, y que aún así, podría pasar por ensayos sobre la homosexualidad, sinopsis de películas y, entre otras cosas, sin dejar de lado la historia de los protagonistas, sus inquietudes y demás y todo eso.—Ah, bueno… es que yo sólo quería empezar el planteamiento.—No, no, pues hay que ser más cuidados al plantear planteamientos para que no andes dejando tantos cabos sueltos y hagas una reseñita superficial con toda tu palabrería.—Bueno, es que tampoco se trata de hacer la súper-reseña.—Ya, ya sé. Es sólo con la intención de que la reseñilla tuya dé un aire de de-qué-va la novelita.—Sí, eso mismo.—¿Eso mismo y nomás?—Eso mismo y nomás.—Bah.—¿Qué?—Flojo.

  • Rebecca McNutt
    2019-05-24 16:44

    Better than I thought it'd be, very creepy and original. It wasn't the most memorable book in the world, though.

  • Teresa Proença
    2019-05-29 14:19

    "-Não, eu não me arrependo de nada. Cada vez me convenço mais de que o sexo é a pura inocência.",diz Valentín a Molina...Valentín Paz é um prisioneiro político. Luis Molina está preso por corrupção de menores, ou seja, porque é homossexual.Estão juntos numa cela de uma prisão de Buenos Aires, no ano de 1975.Para que o tempo custe menos a passar, Molina conta filmes, que viu quando era livre, os quais servem de pretexto para se irem revelando a si próprios e um ao outro. E vão criando uma ligação tão intensa e única para a qual não encontro nome, pois há sentimentos que, de tão especiais, não podem ser "encaixotados" em palavras como amor, amizade...O que vivem Valentín e Molina é-nos transmitido apenas através de diálogos. Não há um narrador que nos descreva quem são, como são e o que fazem as personagens. Estamos entregues à nossa imaginação, como se estivéssemos, no escuro, a ouvir uma conversa entre duas pessoas. Pouco a pouco, vamos conhecendo-os. Valentín é misterioso, frio e egoísta, obcecado com os seus ideais políticos. Molina é todo coração, sensibilidade, generosidade (Oh, Molina! Doce Molinita...)Gostei muito desta história, embora detestasse as Notas que Manuel Puig colocou no fim e para as quais chama a atenção durante a leitura. Nessas notas, o autor expõe teorias acerca da homossexualidade, das suas origens físicas e outras tretas. Irrita-me a preocupação, interesse e outras coisas piores, que a sociedade demonstra pelo que os não heterossexuais fazem com os seus genitais. Se a altura e peso de um ser humano não é do interesse geral, porque teremos de nos preocupar, analisar, criticar, desculpar, quando um homem ou mulher ama e tem relações sexuais com alguém do mesmo sexo? A altura e o peso até é visível e pode criar complexos e invejas a quem vê, mas o sexo? Isso é íntimo e privado! Talvez seja em defesa da prossecução da espécie e dos direitos das crianças. Pois...quantos senhores e senhoras não viram a cara para o lado, agoniados, se um miúdo ranhoso e com fome lhes pede algo? Esses mesmos que bradarão se essa criança estiver em perigo de ser adoptada por uma família de homossexuais...Se a sociedade não fosse tão hipócrita e defensora de valores sem qualquer valor, o mundo seria um lugar muito mais bonito, sem ter de haver homens e mulheres que vivem escondidos atrás da culpa e do medo de serem quem são.Esta minha conversa não interessa nada, mas também não interessam as notas do Manuel Puig, porque este romance não é sobre homossexuais. É, sim, sobre dois homens vítimas da Sociedade e do Poder.(Imagem do filme, baseado neste livro, "Kiss of the Spider Woman" de Hector Babenco, com William Hurt e Raul Julia)

  • Nancy Oakes
    2019-05-28 17:28

    In my opinion, Kiss of the Spider Woman is an exquisite novel, one I could not put down until the very last word. To give away too much about this book is to spoil, so it will be just barebones here. Set in Argentina in the mid-1970s, Luis Molina and Valentín Arregui are cellmates in a prison -- Molina, a gay window dresser, for corruption of a minor, and Valentín for being a Marxist guerilla who will not give over any information to the authorities. Molina spends much of their time together recounting films he's seen, which at first seems like an escape mechanism, but as the novel progresses, it becomes very clear that there's much more than passing time going on. As Molina works his way through several movies, the reader begins to notice that they cover a wide range of themes, including political awareness, power, questions of identity and the true nature of the characters, sacrifice, betrayal, and the nature of relationships, but even more importantly, they are all about different forms of repression and imprisonment. The movies offer both prisoners a chance to begin serious and meaningful dialogue about their own inner anxieties, and their relationship becomes closer as they begin to open up to each other. But of course there's more than meets the eye here, leading to terrible, tragic consequences. The films recounted by Molina in this novel provide great insight into various means of repression forced on others by outside forces; it is also, in part, a story which examines the ways in which different people seek to transcend their own forms of imprisonment. Obviously, there's much, much more but this post just has to do for the time being. While several readers have expressed misgivings about this book, in my opinion, it's one that should not be missed. After reading the book, see the film -- absolutely amazing. I can't begin to say just how much I loved this novel.

  • Francesca
    2019-06-07 16:46

    I am legit stunned.Rating and review later. Right now I am speechless.

  • Jamie
    2019-05-28 15:26

    Really fascinating novel that I wasn't expecting to like at first. You're kind of swept up in the dialogue between unidentifiable characters in an unidentifiable setting--and you're left in this limbo for a good 20 or so pages. But Puig's undercutting of generic and authorial authority in the text, his wonderful use of oral storytelling (in written form?), and the politics implicit and explicit to the text make this both an enjoyable and provocative read. By the end of the novel, I felt as though I truly knew Molina and Valentin, despite being denied access to their interiorities, save for the external signs they offer up to one another. That was particularly cool--you get to know these characters as they themselves are learning about one another. Again, you feel as if you've been thrown into the prison cell with them as you kind of hobble along, trying to keep up. The question of sexual and gender politics really pulled me into the story--particularly insofar as Molina is the sexual 'deviant' but has the more conventional views on sex/gender roles; moreover, you have the 'official' footnotes alerting you both to Puig's presence and absence as a passer of judgment--and what do they mean in the context of the text? You aren't really given that knowledge, nor does Puig make any definitively truthful or recognizable statements about these characters and their social positionings. I love that tension. But I can see how it might be a frustrating book for some, since it's incredibly post-modern in aesthetic, and difficult to follow at times. Oh, and I *loved* Molina's film/story-telling--so wonderful. An incredible novel.

  • Andrés
    2019-06-16 18:48

    Una novela no convencional, distinta, elocuente y sencilla .- Un diálogo entre dos presos (uno político y otro homosexual ) que lleva implícito el conflicto emocional de cada uno; temores y sueños que hilvanan sus conversaciones alternadas con historias cinematográficas contadas por uno de ellos para amortiguar el duro paso del tiempo. Esa relación que se crea bajo las extremas condiciones va a construir  un lazo emocional fortísimo que llevará su espíritu  a extremos inverosímiles pero necesarios para compensar los sentimientos  que ha desatado el sacrificio compartido.

  • Michael
    2019-06-11 18:25

    Most everything about this odd book is enjoyable: the dialogue is crisp and never flat, the characters believably drawn, and the film plots that comprise much of the storytelling are told with startling freshness. Valentin and Molina's cell could be anywhere where two people are discussing life; Puig's themes are universal, the suffering is real. There are a few unexpected twists that keep the heart of the rather dry story beating, and it is apparent that Puig feels deeply about both men and has experienced much of their misery. And yet, Kiss of the Spider Woman is strangely, almost resolutely, pointless. And that is not to disparage the story nor the structure, both of which, especially the structure, are fairly successful in a way that other books employing the same devices are not. But that same structure is a crutch, delivering a less than stellar novel from the abyss of mere storytelling. Had it been written traditionally, the book would probably have met mostly with artistic disapproval. The situation is not exactly noteworthy, and through the added emphasis of symbolic characterization, Puig attempts to create an archetypal history of a particular era, reinforced with footnotes detailing the development (or lack of) of psychological theories of homosexuality. The use of these footnotes is meant to destabilize our distinction between the truth of the novel and the fictions of reality. One thing Kiss of the Spider Woman has going for it is rhythm; Puig is a master of dialogue. He has to be. Kiss of the Spider Woman is a book confused on one side by its strict romanticism and on the other by its strict cynicism. In many novels, such as The Sorrows of Young Werther (to use a bad example) this dichotomy works; in Puig's magnus opus, it doesn't, but only barely.

  • brian
    2019-06-16 16:47

    no comment.i have a few rules regarding bookface. one of 'em being that you just don't write a book report within a month of DFJ reporting on the same book. i mean, c'mon. it'd be like singing a duet with morrissey. or crossing swords with john holmes. or moving into the kremlin directly after stalin. or going scotch for scotch with christopher hitchens... you're only gonna look like an asshole when compared to a master.

  • Arwen56
    2019-05-28 19:46

    Avevo visto il film, tanti anni fa. La regia era di Hector Babenco e gli interpreti William Hurt, Raul Julia e Sonia Braga. Ne ero rimasta affascinata, sia per la trama sia per l’intensa recitazione.Solo oggi ho letto il libro. E mi è piaciuto quanto la pellicola, se non di più. Non mi è facile parlarne, poiché l’emozione nasce esclusivamente dagli impercettibili cambiamenti nel rapporto tra due uomini che sono reclusi in una cella, da cui escono solo per brevi attimi, scanditi e separati da una serie di “trame” di film che Molina racconta a Valentín. La storia reale e tristemente cruda di un omosessuale e di un perseguitato politico si mescola così alle storie false e sentimentali, ma che comunque coinvolgono perché è Molina che ce le racconta, di quel mondo illusorio che è quello della celluloide. Giorno dopo giorno, film dopo film, i due uomini, così diversi, si avvicinano e scoprono che è nel parlare, nel condividere anche ciò di cui si vergognano che nasce la comprensione, l’accettazione dell’altro e la sconfitta della solitudine. Con delicate e lievi parole, l’unione tra i due verrà ad un certo punto suggellata anche dall’unione fisica, pur restando Valentín un eterosessuale. E di questo non si pentirà mai, tanto che nella bellissima chiusa del romanzo dirà, rivolgendosi nel delirio che segue alla tortura a Marta, la donna che ama, ma in realtà parlando a Molina, che ormai è morto: “Ah quanto t’amo! Era l’unica cosa che non potevo dirti, avevo paura che me lo chiedessi e in questo modo sì che t’avrei persa per sempre”. Ma Molina non glielo ha chiesto mai. Molina sapeva che Valentín non era né avrebbe mai potuto essere il suo uomo, ma sapeva anche che era intelligente abbastanza per capire quale fossero le sue reali esigenze. In quella cella si realizza un piccolo, grandissimo miracolo: due persone si comprendono e depongono le armi, le innumerevoli armi con cui, tutti i giorni, cerchiamo di sopraffare gli altri. E’ solo una tregua, intendiamoci. L’uomo è fatto così. E’ da folli pensare che possa andare altrimenti. Ma, talvolta, per qualche inspiegabile motivo, succede che due anime si incontrino. E finchè dura, è bellissimo. Questo libro racconta uno di quei momenti.

  • Vit Babenco
    2019-05-24 15:38

    Kiss of the Spider Woman is a powerful psychological drama – a dark chamber nocturne.Sometimes the entire state turns into a jail and then prisons become just a continuation of the state… There are two men in a prison cell: one is effete and the other is masculine, one is a seducer the other is a revolutionary, and each of them pursues his own benefit…“…when they switch on a strong spotlight, the appearance of such a strange woman, with a long dress on, that’s shining, ‘Silver lamé, that fits her like a glove?’ yes, ‘And her face?’ she’s wearing a mask, it’s also silver, but… poor creature… she can’t move, there in the deepest part of the jungle she’s trapped in a spider’s web, or no, the spiderweb is growing out of her own body, the threads are coming out of her waist and her hips, they’re part of her body, so many threads that look hairy like ropes and disgust me, even though if I were to touch them they might feel as smooth as who knows what, but it makes me queasy to touch them, ‘Doesn’t she speak?’ no, she’s crying, or no, she isn’t, she’s smiling but a tear rolls out from beneath the mask…”Who is a spider and who is a fly? Who is using whom? And what is a price of a kiss?

  • Kalina
    2019-05-28 14:43

    На екрана - двама души в една килия, диалогът им, плюс многоточията. В киносалона - авторът, преводачът-нинджа, аз и читателят, заел книгата преди мен от библиотеката и подчертавал тънко с молив. Голям филм.

  • Gabriel Unheimlich
    2019-06-07 15:22

    Una novela extraordinaria. La había leído como hace diez años, pero me gustó mucho más esta segunda. Manuel Puig es un escritor espectacular.

  • Nicola
    2019-06-14 21:28

    This might be the oddest 1001 list book that I've read yet (although I've not yet read quite 400 so nearly 900 remain from the combined list). The book opens with a description of a scene - one person is describing a woman and how you notice something odd about hershe's not a woman like all the othersWhat about her eyes a second disembodiment voice asks. And so the first voice describes them.Who is speaking? What are they speaking about? Is it a movie or a tv show? - I picture her dark-looking, not too tall, really nice figure, and she moves like a cat. A real piece.- Who didn't want to get aroused?Ah, men most likely!- Go on. A little more is revealed; this old movie comes to life under the words of the storyteller Molina spinning out from his memories for the enjoyment of his listener Valentin, who occasionally throws in the odd caustic comment. Molina eventually says that he will pause in his retelling for the night I like to leave you hanging, that way you enjoy the film more. One chapter down and I've learnt little more than two names.Slowly, ever so slowly, more is revealed, they are two men sharing a prison cell, Molina the story teller has been imprisoned for sexual improprietary with a minor and seeing as he is gay the judge seized the opportunity to throw the proverbial book at him. Valentin, his rather sharp tongued cell-mate is a radical would-be revolutionary. Two men you would think would have nothing in common, and in truth they really don't, but, somehow they have built up a real friendship. The motherly Molina, so sensitive and romantic is frequently hurt by the caustic comments of Valentin who occasionally mocks his world view and his movie choices, but when he is offended enough to withdraw into himself a little then you see that Valentin, in spite of his tough exterior, needs the sympathy and companionship that Molina offers and apologizes. I had been puzzling over the title and the cover of this book while I slowly gained by bearings and I finally realised that every movie had a scene which depicted a woman walking in the dusk and back lit. As for the title, that became clear when it was revealed that (view spoiler)[ Molina had been placed into Valentins cell and instructed to gain his friendship and worm out any details he could about Valentins revolutionary friends - in return he would be pardoned and released from prison. It was a task Molina self sabotaged at every step; however desperately he wanted his freedom, Molina was a loving and caring person and he had grown close to Valentin and didn't want to betray either him or the cause that was so important to him.(hide spoiler)]Yes, this really was such an odd book in so many ways but one that I ended up enjoying. Once I'd decided to stop reading the crappy Freudian and other rubbish psychobabble footnotes about homosexuals and why they existed anyway. I read the first few but decided they added nothing to the story, broke up the narrative and were total drivel. Cruddy stuff like that is why I have such a low opinion of the whole psychology field.

  • Joselito Honestly and Brilliantly
    2019-06-13 21:44

    The book's blurb says this was made into a film where William Hurt, who played the role of Molina, was named best actor at the 1985 Cannes Film Festival. I haven't seen the movie but I was not surprised by this: Molina is a difficult role for any actor.Molina here is a gay guy who is in a Latin American prison for child molestation. He becomes the cellmate of Valentin, a fanatical revolutionary. No two persons could have been more different. Molina has no interest whatsoever in politics which, however, is practically the world to Valentin. But they found one thing to share: their love for stories, specifically those told in movies. Molina loves to tell these stories based on the movies he had seen, Valentin survives the monotony of each day, especially during the nights he couldn't sleep, listening to Molina. Through these stories, interspersed with their dialogues about their own personal lives, their characters and backgrounds are revealed.Then there are the footnotes on the science or psychology of homosexuality. The effect is like you're watching a long, secretly filmed conversation between two prisoners, one of them gay, and Sigmund Freud annotates the exchanges.Occasionally, there are reports from the military authorities who have detained the two. Here the reader finds out that Molina is actually being used to elicit information from the rebel Valentin about the revolutionary group Valentin belongs to. Molina gives the appearance of cooperation to get out of prison because he has a sick mother to care for. But he had fallen in love with Valentin, while the latter, at least, had become attached to him too.I wonder how the director Hector Babenco treated their love scenes inside the prison cell. With the barest minimum of words, most of them just ellipses in fact, Manuel Puig masterfully conveyed their tenderness, making me want to experience gay love too (he, he, just kidding!).Lastly, the book has its italicized passages. Unshared secret thoughts by either Molina or Valentin alone. Flashbacks. The last one being the hallucinations of a probably dying, heavily-tortured Valentin. By then, Molina had been dead already, killed by Valentin's own comrades after he (Molina) got out of prison. A wonderful love story, told in such a unique way

  • Pablo
    2019-05-25 20:20

    ¨porque este sueño es corto, pero es feliz¨3,5Es verdaderamente sorprendente la habilidad de Puig para definir a sus dos protagonistas exclusivamente a base de diálogos, tratados además de forma totalmente natural, apenas afectada. La relación entre ambos rezuma una ternura que contrasta perfectamente con lo sórdido del contexto, una celda durante la dictadura militar argentina. Las películas que le cuenta Molina a Valentín para hacer más llevaderas las interminables horas en prisión (serie B de los 40', de las cuales en realidad sólo había visto La Mujer Pantera) no sólo estructuran una narración bastante inusual: a través de ellas y a partir de las impresiones o detalles que Molina y Valentín destacan, el lector va comprendiendo los sentimientos que forman sus respectivos caracteres; así, Molina se acuerda de la letra de los boleros, da una gran importancia a las miradas o a los peinados de las actrices, y se recrea en la exaltación de sus sentimientos, mientras que Valentín trata de analizar todo desde un punto de vista social y político. Es este, en realidad, el verdadero encanto de la novela. Las inclusión de las notas a pie de página interrumpiendo el flujo de la lectura y su ubicación son, como poco, desconcertantes.

  • João Roque
    2019-06-11 20:26

    Já tinha visto há anos o excelente filme de H.Babenco e com uma extraordinária interpretação de William Hurt no papel de Molina.Agora foi a vez de ler o livro e claro que a narrativa é muito mais completa que o livro, nomeadamente quando Molina vai contando a Aguirre os seus filmes preferidos, com muita vivacidade e um colorido muito latinos.Manuel Puig mostra ser um excelente autor e faz-me ter vontade de ler outras obras suas.

  • sologdin
    2019-05-30 14:34

    Prison literature, written and presumably set during the Argentine Dirty War, which was an unlawful counter-insurgency operation carried out by neo-fascists in Argentina, with the support of motherfuckers in the United States under cover of the kissingerian Operation Condor, which coordinated rightwing state violence all across the Monroe Doctrine zone. (US parrotriots should be advised that they are hated around the world precisely because of this sort of operation.)Much of the novel is dialogue between two cellmates (with some fictive police and prison documents interpolated on occasion), and much of their colloquy involves the recitation of film narratives. The films are well selected, as each highlights components of prison life: caged animals in a zoo, voodoo zombies as forced laborers, collaborators with nazis, and so on. These illustrate both the foucauldian principle that disciplinary mechanisms escape the prison house and generalize throughout society as well as the notion that much of civil society is confinement.One prisoner, a marxist, believes that "I've put myself in the service of what's truly noble, I mean, well, a certain ideology" (28). Despite the left politics, he is nevertheless uncritical on gender ideology, agreeing that "if [men] acted like women then where wouldn't be any more torturers" (29), accepting a facile essentialist principle of differentiation. The left politics is however a source of resilience for him: "right at this minute I'm not alone! I'm with her and with everybody who thinks like her and me" (42). It is also a source of liberty: "if you study something, you transcend any cell you're inside of" (78); combining this latter point with the films, supra, we see that prison spaces and non-prison spaces coincide without remainder in neo-fascist society.Text is remarkable for its lengthy footnotes regarding the psychology of homosexuality: Freud, Reich, Marcuse, et al. Damned curious. My reading, however, suggests that the meditation on homosexuality may not be as salient as the transgender interest, as one ostensibly 'male' character identifies as a 'woman' repeatedly. By the end, this character suggests that "my husband, he has to give the orders," answered by the other, "no, the man of the house and the woman of the house have to be equal with one another. If not, their relation becomes a form of exploitation" (244).It is difficult to discern if the character has been imprisoned for political reasons of sexual orientation/transgender status, or if his conviction for sex with a minor is bona fide. That said, the state regards him as a child predator, and it is significant that they rank him as a distinctly lesser criminal threat than the marxist cellmate. Standard rightwing crazy, wherein the ultimate pornography is the challenge to class power, even amid rapists of juveniles.Recommended for readers who become attached to characters and now that it's all over it's just like they died, loudmouths playing at cafe politics, and those who would cease to be the pawn of someone else's perversity.

  • Nathanial
    2019-05-27 15:24

    Puig's tale consists [almost] entirely of dialogue. Written in the mid-seventies, during the Argentinian junta of 'disappearances' and mass incarceration, Kiss of the Spider Woman traces the evolving relationship of two convicts: a youthful dissident and an older homosexual. Later made into a successful movie, the plot itself mainly revolves around the movies that one character describes to the second. As a book of ideas, Puig's short novel glosses over character history and contextual background. His main project seems to be to complicate the categorical binary of 'good citizenship' and 'epic resistance' as often espoused in feature films or propaganda. Not incidentally, Puig also convincingly depicts the desperation and fervor within 'camp' caricatures, revealing a humanistic longing for complex lives beyond gendered stereotypes. The 1991 edition from Vintage International, however, includes archaic analysis of sexual orientations as part of what the editors must have imagined would be helpful notes for a homogeonous, heterosexual readership; the translation sputters at points, but in the main carries the tricky balance of weight and flow that Puig brought to this fast-paced (and yet considerably embroidered) drama. ...In alternating sections, Puig also uses the form of official correspondence (police memoranda, surveillance notes, and the like) to great effect. These passages generally depict the most sensitive and significant moments in the text - not necessarily the most meaningful or crucial, but those which fulfill their role best when they're not commented upon...tacit understandings between two characters can be used like blunt objects by authors who seem more interested in showing their own talent than inviting readers to make discoveries for themselves. Puig gives us that distance when he writes in that 'officialese' - it's almost like the Fourth Person point-of-view that Lydia Davis said, in an interview, that she so desperately wanted.

  • Beatriz Chavarri
    2019-06-15 20:41

    Si ya con Boquitas pintadas sentía que Manuel Puig era un autor fenomenal, con la rara capacidad de desdoblarse y crear un discurso completamente femenino, sin que se sintiera el artificio literario (no se siente como un escritor imitando la voz de una mujer, sino que parece que se lee el diario de una mujer, y no de paso una mujer de altos vuelos intelectuales sino criada entre radionovelas, tangos y boleros), con El beso de la mujer araña descubrí a un autor a quien bien puedo llamar genial, al margen del tan cacareado boom latinoamericano, que ya para los 70 estaba viviendo de los frutos cosechados en la década anterior.Puig sigue nutriéndose de la cultura de masas, esta vez del cine, pero no el cine clásico ni de autor, sino producciones catalogadas como cine B, siendo La mujer pantera el ícono por excelencia de este subgénero. Me parece un recurso brillante el prescindir de la narración y hacer que los personajes se descubran desde el diálogo, y que sea la narración de las diferentes películas la que dé pie al descubrimiento de cada uno. Las notas a pie de página me parecen un contrapunto irónico; unos las ven como innecesarias, o como que cortan con el hilo narrativo, pero su uso es evidentemente paródico. ¿Por qué lo homosexual debe ser explicado siempre? ¿Por qué lo que se aleje de la norma es visto como objeto científico de estudio? Una gratísima lectura, que me brindó la satisfacción de saber que nunca estuve equivocada cuando en tiempos universitarios les decía a mis compañeros que no entendían a Manuel Puig, que no era un autor cursi, sino que se valía de lo cursi, para imitarlo y criticarlo desde su misma base. Qué lamentable se siente ahora la pérdida tan temprana de este brillante autor.

  • Elizabeth (Alaska)
    2019-06-19 21:40

    I'm hard pressed to describe my reaction to this book. I have difficulty, too, deciding on a final rating. Four stars, I think, for an innovative way of presenting the story and characters. This is told entirely in dialog. At first, we don't even know the character names and learn them only because one addresses the other by name. Characterization is revealed only by what we learn from them. There are a couple of very brief government reports giving official background on the crimes that put them into prison.Three stars, because I thought the characterization was incomplete, or in some ways not believable. I have no other way of looking at this except through my current knowledge. These fellows seemed too naive in spite of themselves. If I begin to tell my reasons for thinking so, I'll begin to reveal spoilers.Two stars, because included were "footnotes" about homosexuality, including research about why homosexuality exists and also some thoughts by Freud. Again, this is very dated, and I thought tiresome. I began to skim it, then skip it.I'm glad to have read it, but I might be careful about reading anything listed as "readers also enjoyed" on this book page.

  • Stuart
    2019-06-01 15:46

    This book is a modern masterpiece, and something everyone should read once. Puig's tale of sex and love, passion, betrayal, politics and oppression, is woven together from dialogue, dreams and footnotes, movie summaries and sharp, cutting images rendered in elegant prose that mimics the morphine hallucinations and fantasies that provide escape from the tortured lives led by the protagonists. The main characters, Valentine and Molina, are slowly defined by their reactions to the world and each other, their relationship building and layering until they finally come together in a moment of passion- or is it desperation?- and then continue on to the heartbreaking, eviscerating ending that leaves you no question as to why this fascinating novel has haunted so many people for so long. Deeply human, incredible humane, this is a book that changes the way the reader sees life.

  • Daniel Polansky
    2019-06-01 20:25

    A dialogue between two men in an Argentinian prison, one sent for leftist activities, the other for being a homosexual, whose growing love is sublimated through the elaborate description of fake movies which they collectively recollect. I sort of thought the thing worked better during the first 2/3’s when the love affair is unrequited rather than during the last, tragic bit, but still it’s a very odd, clever, vibrant little novel. I’ll keep an eye out for Puig going forward. I borrowed it from someone and already gave it back, but in principle I would keep this.

  • Brenda
    2019-05-26 14:46

    Well, well, well...I didn't expected that.(view spoiler)[Es la primera m/m que leo aunque no es un libro romántico definitivamente hay algunos elementos que si los son. (hide spoiler)]I had a perfect gif for this but that fucking image error ¬¬Plus, the best footnotes ever.["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>["br"]>

  • A Cubierta
    2019-05-26 14:41