"Creyó por primera vez entender porqué se decía que la vida es sueño: si uno vive bastante, los hechos de su vida, como los de un sueño, su vuelven incomunicables porque a nadie interesan."

"¿No es lo mismo que suceda lo que deseamos, que desear lo que suceda? Lo que importa es que nuestra voluntad y los sucesos estén de acuerdo."

"Toda máquina está en proceso de extinción."

"El mismo lobo tiene momentos de debilidad, en que se pone del lado del cordero y piensa: Ojalá que huya."

"It was not until 1937 that Argentine fantastic literature would experience its greatest achievements. The creative trio of Silvina Ocampo, Jorge Luis Borges and Adolfo Bioy Casares, good friends in Buenos Aires, met to publish their first anthology of fantastic literature."

"A veces pienso que 'La vida de los poetas' de Johnson es todo lo que necesito para ser feliz."

"Un médico es la conjunción de un guardapolvo, un estetoscópio y una jerga."

"I touch your mouth, I touch the edge of your mouth with my finger, I am drawing it as if it were something my hand was sketching, as if for the first time your mouth opened a little, and all I have to do is close my eyes to erase it and start all over again, every time I can make the mouth I want appear, the mouth which my hand chooses and sketches on your face, and which by some chance that I do not seek to understand coincides exactly with your mouth which smiles beneath the one my hand is sketching on you."

"Cualquiera que no lea a Cortázar está condenado. No leerlo es una seria enfermedad invisible que, con el tiempo, puede traer consecuencias terribles. Semejante en cierto modo al que nunca ha saboreado un durazno, el hombre se volverá calladamente más triste, notablemente más pálido y es probable que, poco a poco, acabe perdiendo todo el pelo."

"Cortázar…whom I admire deeply, I met much later in my life...Cortázar is the one who is closest to my way of understanding the act of writing. And nearer to my heart. I admire Carlos Fuentes on the opposite extreme of the equation. That is why I wrote a book on both of them, Entrecruzamientos: Cortázar/Fuentes."

"One of the first people I read was García Márquez and One Hundred Years of Solitude when I was about nineteen or eighteen. And Julio Cortázar. I read all of Jorge Amado. I can tell you I read everybody and everything. And they would drive me nuts! But I was compelled to it. I was driven to the mechanics of what they were doing...I read and reread Julio Cortázar to try to learn from the writer the labyrinth of his style...I think he is one of the best examples of playing with time. When I was going to write The Mixquiahuala Letters I was twenty-three, and I had this idea about playing with time-that time was fluid-and I mentioned this project to a friend of mine, who was getting his Master's in Spanish literature, and he said that's already been done!"

"I have a commitment to many of my major characters who have brown skin. That's a commitment to the story of a different character that you're not used to seeing in literature. In Julio Cortázar's work, for example, I can deal with his Latin American history, I can deal with the language, but his women have white, porcelain skin. They're Argentine, probably from a European background."

"I was influenced by all of them-by García Márquez, by Carlos Fuentes, Jorge Luis Borges, Julio Cortázar, José Donoso, so many of them-some of my own generation, like Eduardo Galeano. It's easy for me to write because I don't have to invent anything. They already found a voice, a way of telling us to ourselves, so it's easy."

"I belong to the first generation of Latin American writers brought up reading other Latin American writers. Before my time the work of Latin American writers was not well distributed, even on our continent. In Chile it was very hard to read other writers from Latin America. My greatest influences have been all the great writers of the Latin American Boom in literature: García Márquez, Vargas Llosa, Cortázar, Borges, Paz, Rulfo, Amado, etc."

"Julio was never a regional writer. You could see he was Argentinian, but he was more like Borges, more universal from the very beginning. He didn’t jump from the regionalism, he wrote universally all the time...It’s not that Julio was not very Argentinian, he was very Argentinian but his works were never as local."

"For the majority of readers, Latin American fantastic literature operates under the tutelage of the great masters: Jorge Luis Borges, Adolfo Bioy Casares, Julio Cortázar and Gabriel García Márquez. However, although few are acquainted with their works, many women began experimenting with this genre well before their male counterparts and were the true precursors of the form, though their names remained on the shelves of oblivion, without the recognition that they deserved. María Luisa Bombal, for example, wrote the fantastic nouvelle, House of Mist (1937) before the famous Ficciones (1944) of Borges, and the Mexican, Elena Garro, wrote Remembrance of Things to Come (1962) before the publication of García Márquez' One Hundred Years of Solitude (1967)."

"The only true exile is the writer who lives in his own country."

"The snail lives the way I like to live; he carries his own home with him."

""Hair loss and retrieval" (Translation of "Pérdida y recuperación del pelo")"

"'Ahora pasa que las tortugas son grandes admiradoras de la velocidad, como es natural. Las esperanzas lo saben, y no se preocupan. Los famas lo saben, y se burlan. Los cronopios lo saben, y cada vez que encuentran una tortuga, sacan la caja de tizas de colores y sobre la redonda pizarra de la tortuga dibujan una golondrina.'"

"Nada está perdido si se tiene el valor de proclamar que todo está perdido y hay que empezar de nuevo."

"'Andábamos sin buscarnos pero sabiendo que andábamos para encontrarnos.'"