In Count Julian I simply proposed to create a text which would allow for diverse levels of reading.
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.
I not only lived physically away from my native land, but the values and critical judgments of those closest to me became stranger and stranger.
Marks of Identity is, among other things, the expression of the process of alienation in a contemporary intellectual with respect to his own country.
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.
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.
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.
In times when religious or political faith or hope predominates, the writer functions totally in unison with society, and expresses society's feelings, beliefs, and hopes in perfect harmony.
For a country is not merely a piece of earth; it is, above all, a compendium of social, cultural, and historical factors which begin to acquire sense and order through the process of writing.