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Kiss of the Spider Woman, by Manuel Puig
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Translation of: Beso de la mujer ara~na.
- Sales Rank: #68362 in Books
- Brand: Brand: Vintage
- Published on: 1991-04-03
- Released on: 1991-04-03
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .62" w x 5.16" l, .49 pounds
- Binding: Paperback
- 288 pages
- Used Book in Good Condition
Review
Novel by Manuel Puig, published in 1976 as El beso de la mujer arana. Mostly consisting of dialogue between two men in an Argentine jail cell, the novel traces the development of their unlikely friendship. Molina is a middle-aged homosexual who passes the long hours in prison by acting out scenes from his favorite movies. Valentin is a young socialist revolutionary, who initially berates Molina for his effeminacy and his lack of political conviction. Sharing the hardships of a six-month prison term, the two eventually forge a strong relationship that becomes sexual. In an ironic role reversal at the end of the novel, Molina dies as a result of his involvement in politics while Valentin escapes the pain of torture by retreating into a dream world. -- The Merriam-Webster Encyclopedia of Literature
Language Notes
Text: English (translation)
Original Language: Spanish
About the Author
Manuel Puig is the acclaimed author of many novels, including Betrayed by Rita Hayworth, Kiss of the Spider Woman, and The Buenos Aires Affair. He was born in Argentina in 1932 and died in Mexico in 1990.
Thomas Colchie is an acclaimed translator, editor, and literary agent for international authors. He is the editor of "A Hammock Beneath the Mangoes," He has written for the "Village Voice" and "The Washington Post," His translations include Manuel Puig's "Kiss of the Spider Woman" and (with Elizabeth Bishop, Gregory Rabassa, and Mark Strand) Carlos Drummond de Andrade's "Travelling in the Family,"
Most helpful customer reviews
29 of 31 people found the following review helpful.
for the footnotes
By A Customer
Since there are already so many reviews for this excellent book, I will limit my contribution to a few comments on the footnotes. They are not mere postmodern flourish, nor are they superfluous. They function in several ways. First, they mark a certain reception of psychoanalytic theory in Argentina. Secondly, although in the beginning they correspond to the story (in the tradition way that footnotes do -- as elaboration on a point that cannot be contained in the narrative) they begin to loose their direct correspondence as the story continues. This "unraveling" corresponds to the unraveling of the framing device (most importantly the telling of stories), which traditionally is a narrative structure that functions to hold sexual desire at bay. In other words, the footnotes lose their hold as the characters become closer, sharing more personal facets of their lives, and eventually becoming sexual. In this way the footnotes subtend the narrative in such a way as to track sexual desire and the confusing and contradictory aspects (and theories) that attend to it. I think it is essential to read the footnotes along with the narrative since they add to Puig's experimental narrative style. If they are confusing, that is the point. Unexpected desire, like love, always is.
11 of 11 people found the following review helpful.
Don't read this, read the book!!
By Stephanie Zuercher
This book was recommended to my by a very enthusiastic friend, and I must say, having finished the book, I understand why. Roughly, the story is about two men in prison: Luis Molina, the homosexual window dresser, and Valentin Arruiga Paz. That, however, only begins to describe it. It's also about movies: Molina tells the plots of movies, partially to pass the time, partially because these movies -- living these movies -- is his escape. He prefers the movies from the forties and fifties, with the real divas, short hair, lots of blood-red lipstick . . . The movies aren't just time-passers, either: they reflect the events of the book.
The style is one of the most outstanding features of the book. It is almost entirely in dialogue, with some brief spates into play-format and a couple of police reports. It varies with the setting. There are also a couple of sections in stream-of-consciousness, where one receives Molina's movies as he thinks of them, no bothering with sentences. It all contributes to a wonderful effect.
I have, however, heard, that although this is the only translation available, it isn't the best. For example, Molina refers to himself as a woman throughout the book in the Spanish version. Although this isn't as possible in English, one could have made more of an effort, to preserve the feel of the original.
So go learn Spanish (if you don't know it already) -- but read this first!
10 of 11 people found the following review helpful.
A beautiful and tragic love story
By A Customer
This is a beautiful book, and I must say that it is much better than the movie. From watching the movie, you get the sense that Molina tells the movies only to pass the time and entertain himself, while the fact that Molina IS the movies that he relates - that he lives the movies in his mind, that they have always been an escape for him, an escape from the prison in which he always finds himself, whether physical or societal - is emphasized much more significantly in the novel.
This is a story of immediate feeling and passion, of the harshness and smallness of life, the desire for transcendence through the love of and for another, and the power that the imagination ultimately has over reality. In the end, Valentin gives in to Molina's philosophy, unable to stand the cruelty and torture that he undergoes as a jailed revolutionary. And for Molina, you feel that even though his one true experience of love was momentary, it was enough to give his life meaning.
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