“ ‘Kiss of the Spider Woman’ feels timeless, or perhaps newly relevant again and again,” parabasis writes. It’s the only book of the Argentinean writer Manuel Puig’s that remains steadily in print in English.
—the book landed with a thud, managing to make Puig a celebrity in the gay enclave of New York City’s Christopher Street, but not much else. Yet “Kiss of the Spider Woman” had a remarkable afterlife. A play adaptation, co-authored by Puig, became an international success, and led to an Oscar-winning film starring William Hurt and Raul Julia as well as a hit musical written by John Kander, Fred Ebb, and Terrence McNally.
Puig would likely have objected to the idea that frivolity was opposed to truth. His sensibility was rooted in, a word that lacks a direct English translation but is key to the consciousness that underlies his work.is the Blanche DuBois to machismo’s Stanley Kowalski, passionately insisting “I don’t want realism, I want magic!” Its closest equivalent in the United States is camp, but the two are not exactly the same. There’s a yearning tosensibility.
When I got off the train, my first impression was awful, there’s not a single tall building. They’re always having droughts there, so you don’t see many trees either. In the station there are no taxis, they still use the horse and buggy and the center of town is just two and a half blocks away. You can find a few trees that are hardly growing, but what you don’t see at all, anywhere, is real grass.
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