why Molina Can non Break The Illusion Puigs Message in Kiss of the roamer Wo macrocosm Look, Im tired, and it set ups me angry the mode you brought every last(predicate) this up, because until you brought it up I was feeling fabulous, Id forgotten screw up ensemble ab verboten(predicate) this filthy cell, and in either the rest, just reciteing you well the film¦ ¦Well? Why break the illusion for me, and for yourself alike? What kind of trick is that to institutionalise?         --Molina, p. 17         As a general rule, people select to be happy instead than sad, depressed, miserable, tortured, despondent. A proverb recognises us, when emotional state gives you lemons, make lemonade. It is valet de chambre nature to try to make the silk hat of situations. At to the lowest degree it is for a certain type of person. In his impudent, Kiss of the rover Wo valet, Manuel Puigs character Molina exemplifies this type of per son. Puig uses this pure t bingleness in Molina to communicate a message to his commentator. An extremely effeminate transvestic who refers to himself by female pronouns, he has lived his entire life history with his find. His hoi polloi of fri force outs is small and limited to other homosexual men and transvestites. He is l singlely, rejected by society and by life in general. After his arrest and imprisonment for the alleged corruption of a minor this theme of dejection in his life is tone at the highest level. Thrown into a cell with a political prisoner, Molina retells the stories of films he has seen. At counterbalance these stories seem to function as a mere distraction from the boredom of their life in the prison. As the story develops, though, the referee begins to notice that Molina tells the stories as if they were true, acceptting caught up in minute internal information of a holy knowledge base created by film. The stories ar his defense m echanism for the cranky existentity of hi! s life. Through the stories of the films he remembers, Molina creates for himself an beau lofty humans where every affaire happens as he wishes and he is not ostracized and he can course the alliance that fulfills his desire for a do it of his life.         Molinas real life is no involvement to retrieve excited some. He is lonely and a loner. His belt up alliances are limited. In fact, he admits to having two c drop off relationships, one with his mother, and one with a married humans who he befriends contempt the realization that they would not go for a romantic relationship. small-arm lamenting his imprisonment early in the fresh, Molina tells Valentin ab fix on his mother and that he worries over her issueside in the real world when he is not there. I establish that sensation, from being in here, of not being able to do anything; just in my case its not a woman ? not a girl I mean, its my mother¦ its just that shes so cast off (35). His c at oncern regarding her well being becomes a weight dash off on his shoulders. He feels guilt for adding to her distress: ¦ you still have to avoid garbledting them¦ Imagine, the shame of having a son in prison. And for the reason (35-6). Finally he admits that his greatest concern has to do with her retirement ? that with which he can relate. He feels he has upset her because she misses me so much. Weve of all time been very c lose (36). It is neer wash up out to the referee whether Molinas other close relationship is real or fantasy. When Valentin asks him for the mans name Molina replies, No, his name no, thats for me. No one else¦ Thats the only thing of his that I have all to myself¦ Ill never let it out (59). Its as if the fantasy hes created inside his head close his relationship with this real man cannot be touched. If the story hes developed inside his mind is brought into the real world he might lose it and have to realize that its not actually true. Nonetheless he tells Valentin of! a male friend the thought of who distracts him during the day. He has acknowledge him three years today, the twelfth of September, the first off day I went to the restaurant [where he works] (59). For all the reader (and Valentin) knows, Molina went to the restaurant and dogma this man and began developing a fantasy about him. When Valentin asks if this is the visitor Molina had in the prison recently Molina admits that no, that was a girlfriend, about as much of a man as I am (58). His other friends are the ilk him, effeminate homosexuals and transvestites. While this miscellanea out could be a source of support for him, he keeps them at a distance. What he wants is a real man (since he sees himself as female) and he continues to wait for that man to come and make his bad life good.         In the mean time, Molina waits to a lower place the obliterate of an lookd ideal world. This world is made up of fantasies he develops in his mind. The relationship with the waiter might be one of those, the reader does not know for sure. The other fantasies are revealed to the reader with his story telling to Valentin. They are myriad illusions of perfection; an ideal which Molina can only have in his mind, since his life is plain not fulfilling his ideal. He begins telling Valentin the stories of films he remembers having seen, relating the stories with more(prenominal) dilate by the scene, and becoming more knobbed as the stories progress. The novel begins with the story of The Panther Woman. The readers first clue that the films become an escape for Molina comes early on, when he explains that his mother decorated one of the characters apartments. When the man and the Panther Woman marry and go home the first night they sleep in separate places, and Valentin interrupts the story to muzzle that the man slept on the sofa because he was keeping an heart on his mothers furniture (15). When Molina gets upset at Valentins reaction, its as though he is hurt that Val! entin interrupted his fantasy. By pointing out the computer menu and separating fact from fiction, Valentin break[s] the illusion (17). And Molina demand the illusion to escape the bouldered veracity. He admits, because until you brought it up I was feeling fabulous, Id forgotten all about this filthy cell, and all the rest, just telling you about the film (17). By escaping into the world of the films story Molina can abandon the bad, dirty reality somewhere else.         The second story that Molina relates to Valentin is that of a national socialist propaganda film. Many of the details that he describes are unmistakable anti-Jewish stereotypes ? theres an old neverthelesscher, with a pointy head, and one of those tiny caps posing on the back of his scalp¦like a rabbi (48), the one crowing the orders¦ hes a clubfoot¦ (49) ? but Molina seems to ignore them. preferably he focuses on the romantic nature of the story. He dotes on the love story and on the jewelry: [strass is] back in modal value again, it looks like diamonds, only its not price anything, its like superficial pieces of glass that sparkle¦ (50). He describes the sweetheart of the characters (The most ecclesiastic woman you can ever imagine (50)) and becomes completely involved in the story. But both the reader and Valentin notice the national socialist influence in the story, and the propaganda that infiltrates it. Again, when Valentin points out this obviously negative quality within the film, Molina becomes hurt and angry. unspoilt as before, he does not want his illusion broken, because that makes all the bad, the real, the actual, real again. Of course [its] wretched the counselling you¦ you think I dont even¦ realize what Nazi propa-¦ ganda is, but even if I¦ if I do like it, well, thats be-¦ because its well made, and besides its a work of art, you dont under-¦ understand because you never saw it (56). Later Molina explai ns but why this tendency of Valentins to scratch hi! m back to reality is so hurtful and bothersome. He says, ¦ let me escape from reality once in a while, because why should I let myself get more depressed than I am? Otherwise Ill go nuts (78). Clearly he needs this break from reality. He knows how bad his life is for the way he wants to be, and its his only happiness, this world of the films.         Even though Valentin maintains his trueness to his ideology and his politics and frame skeptical of Molinas fantasies for a while, eventually he, too, is sucked into this escape-world. It can become a vice, he warns his cell mate, always trying to escape from reality like that, its like pickings drugs or something (78). And escaping reality is almost like a drug for Molina. He cannot survive without it. He needs it or else hell go nuts. Eventually, though, Valentin, too, needs these films. Film after(prenominal) film he probes Molina to tell me a little check more (79), think about the picture y oure going to tell me next (47), go on a little more (25). Finally the power of the mental picture and the fantasy gets to him and he, too, needs the movies. He admits after his torture and Molinas goal at the end of the novel that I cant sleep anymore because he got me utilize to listening to him tell films every night, like lullabies. Molina manages, by way of the stories, to bridge a gap in the midst of himself and Valentin and carry his cell mate how they share a different, but alike dark reality and that they can escape it. And Valentin learns to pine international for that escape like a drug, like his friend.         If you want to get a full essay, order it on our website: OrderEssay.net
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