A Quote by Manuel Puig

It's my own personal unconscious that ultimately creates the novel's aesthetic facade. — © Manuel Puig
It's my own personal unconscious that ultimately creates the novel's aesthetic facade.
The short story, free from the longuers of the novel is also exempt from the novel's conclusiveness--too often forced and false: it may thus more nearly than the novel approach aesthetic and moral truth.
Material Girl is about having your own personal style, and my personal style reflects the brand's aesthetic.
The subject of the novel is reality liberated from soul. The reader in complete independence presented with a structured process:let him evaluate it, not the author. The façade of the novel cannot be other than stone or steel, flashing electrically or dark, but silent.
It's my contention that each book creates its own structure and its own length. I've written three or four slim books. It may be that the next novel is a big one, but I don't know.
Every reader re-creates a novel - in their own imagination, anyway. It's only entirely the writer's when nobody else has read it.
The more readings a novel has, even contradictory, the better. In journalism, you talk about what you know; you have provided yourself with records, you have gathered information, you have performed interviews. In a novel, you talk about what you don't know, because the novel comes from the unconscious. They are very different relationships with words and with the world. In journalism, you talk about trees; in the novel, you try to talk about the forest.
Originality is another criterion of aesthetic value. We may formulate an originality principle, according to which highly valuable works of art provide hitherto unavailable insights.... Notice that, although originality is a necessary condition of high aesthetic value, it is far from a sufficient condition. Many original works have little or no aesthetic value. An artwork may present a novel but uninteresting perspective, or one that is original but wrong.
The unconscious creates, the ego edits.
A facade of skyscrapers facing a lake and behind the facade, every type of dubiousness.
We are told that talent creates its own opportunities. But it sometimes seems that intense desire creates not only its own opportunities, but its own talents.
I'm not conscious of my own themes as I write first drafts, no, and in fact, I work hard to stay in that unconscious space and not ask myself what the novel is about or what my metaphors might mean because then, I think, you're just dead in the water.
The writer has little control over personal temperament, none over historical moment, and is only partly in charge of his or her own aesthetic.
The novel may stimulate you to think. It may satisfy your aesthetic sense. It may arouse your moral emotions. But if it does not entertain you it is a bad novel.
The value of the personal relationship to all things is that it creates intimacy and intimacy creates understanding and understanding creates love.
You know, the point of a novel - or to me, the point of a novel, the gift of a novel is to go really deeply inside people's lives and inside their personal experiences.
The unconscious mind is decidedly simple, unaffected, straightforward and honest. It hasn't got all of this facade, this veneer of what we call adult culture. It's rather simple, rather childish It is direct and free.
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