ABSTRACT
Puig’s Kiss of the Spider Woman shares certain features with the feminine texts of The Arabian Nights and Cervantes’ ‘The Dialogue of the Dogs’ and Don Quixote in that the momentum of the narrative is motivated, generated and propelled by a seductive narrator and the power of narrative seduction. Like the reincarnation of the Glass Graduate in Ireneo Funes in Borges’s ‘Funes the Memorious’, Cervantes’ shadow can be found in Kiss of the Spider Woman. This chapter focuses on the feminine character of Molina’s seductive narrative, on how the archive in the forms of the police records, the Hollywood movies and the discourse on homosexuality is destabilized. Another focus of this chapter is the impossibility of telling in an archive.
