Pug writes the book from the point of view of the two en in order to portray these views, and their acceptance of them, choosing this method of writing over a more objective and less observant – at least of the characters’ changing pollens – master narrative. This enables him to have a relative view of the situation – from many varying points of view – rather than an absolute, one-sided opinion. Gender identification: Moline refers to himself as a woman, making comments to Valentine such as “I can’t talk about myself like a man, because I don’t feel Like one”, thus distinguishing himself from “men”, and Valentine.
O Is, therefore. By far the more masculine of the two. There are no women present, but, through Million’s stories, both men’s reactions to women are seen; Million’s as one of praise and identification, and Valentine’s as one of difference and, perhaps, intimidation. It is perhaps thought that Pug felt Motifs: Embroidery: Although most likely a motif, the constant recurrence of embroidery may also verge on being a theme, as it is both the men mention embroidery, both in the literal (and thus as a motif), and the metaphorical (the theme) sense; embroidering their stories.
Valentine asks how “If you embroider, why can’t I too? ” when talking to Moline, showing both their apparent tendencies to do so. The title, “The Kiss of The Spider Woman” refers to Earache and Penelope, and the story Itself even resembles that of Scheherazade, who told one thousand and one stories to her husband in order that he wouldn’t kill her, which perhaps provides the book with an ominous air of mystery, as a connection is made between the two.
Black and white: Moline tells, In his second story, of a woman who has “Incredibly white skin, but her etc Dalai”, and, later, In another story, monumental ten eyes AT a woman; “black against the white white skin. ” The extreme difference between the two colors is particularly noticeable in these cases, and conveys the significant difference between Moline and Valentine and their epicurean and stoic views, respectively, on life, as Pug is obviously against seeing things from one point of view.
Keys and cages: The repeated mention of keys shows Moline and Valentine’s confinement (as does that of cages) in prison, heightens the reader’s awareness of this, and thus their inability o escape or leave. In the first story, Moline tells how “Irene slides back the bolt and opens the door, setting the panther free”, both physically, and metaphorically – the panther within herself. The repeated references to keys and cages, coupled with the bird dying inside a cage, and the panther being set free, illustrate his feeling that he perhaps may die in prison, maybe melodramatically so, but also his desire to be set free.
The references to cages are also Pigs condemning of Marxism, and fascism, which he also criticizes subtly through his use of using both Million’s and Valentine’s mints of view throughout the book. Architecture: The references to architecture convey the sense of stories within stories; a complex structure being built up. Pug also frequently uses exposition to invert the traditional fluid motion of storytelling, delving into the inner workings of the book, much like architecture. Escape from reality: Moline chooses to escape the men’s shared harsh reality through stories and fantasies, and Valentine through his political vision and his studying, which he keeps up religiously, saying that he has to “keep up with [his] reading schedule, you know hat”, as it has apparently become such a routine for him, known by Moline, that he feels unable to miss a day, perhaps worried that this will hinder his much-needed-for escape from reality.
In conclusion, therefore, it is obvious that Pug has strong feelings towards these matters; political and social, and portrays this through his use of recurring themes and motifs, which, through their subtlety, do ensure that the reader is persuaded, like both Moline and Valentine, to become tolerant of other people’s views and opinions of matters in life.