LitCharts assigns a color and icon to each theme in Kiss of the Spider Woman, which you can use to track the themes throughout the work.
Gender and Sexuality
Escapism
Surveillance and Trust
Ambiguity, Interpretation, and Truth
Summary
Analysis
The Warden makes a phone call to discuss Molina, who will be released on parole the following day. The Warden suspects Molina is concealing information from him to avoid retribution from Valentin’s comrades and that Molina is playing both the Warden and Valentin to get out of prison. He decides to have Molina’s name and role as a spy published in the papers if Molina betrays him, so that the revolutionaries will target Molina. The Warden also arranges to send someone to follow Molina when he leaves the prison, in case Valentin smuggles out a message with him. The Warden speaks to Molina, who insists Valentin has told him nothing. Molina asks for food for him and Valentin, but the Warden declines because Molina will soon be free.
The narrative once again leaves Molina and Valentin’s perspectives but still remains in the subjective perspective of a biased character, this time the Warden. Since the reader learns the Warden’s plans for Molina from the Warden’s perspective, they gain details into the operations of a surveillance state from the point of view of someone in power within that state. Molina does his best to undermine those systems of power by choosing not to reveal the information Valentin has shared about himself and his comrades.
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Molina returns to the cell and tells Valentin about his parole. Valentin asks Molina to pass on a message to the revolutionaries, but Molina insists Valentin not tell him anything about his comrades. Valentin offers to teach Molina how to disguise his voice and speak in code over the phone, but Molina changes the subject, admitting that he is sad to leave Valentin alone. Molina describes a promise he made to God that he would earn his freedom to take care of his mother, but now that he is set to fulfill that promise he feels he has nothing in his life to call his own. Both Molina and Valentin are upset, so Molina returns to describing the film.
Molina likes to take care of others, but he realizes that he tends to neglect himself in the process. Just as the relationship between the cellmates opened up Valentin to more traditionally feminine parts of himself, Molina is coming to terms with his dignity and importance as a person, which the novel codes as masculine. He still doesn’t reveal his spying to Valentin, but he continues to urge Valentin not to share anything incriminating. Molina and Valentin turn to the film to distract themselves from the pain of separating, highlighting its status as a tool for escapism.
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In the movie, the beautiful woman’s wealthy boyfriend finds her and apologizes for ruining her life. He gives her money, and she searches for the reporter, eager to use her newfound wealth to find a cure for his illness. She finds him dying in a hospital, and he deliriously recites a love poem he wrote for her. He dies, and she returns to the house they lived in together, thinking of his poem and smiling through her tears. Valentin likes this ending, remarking that it shows that although the woman’s story ends in tragedy, she is content because she has experienced true love. He tells Molina that everything is temporary, so they must appreciate good things while they happen. Then Valentin admits that he’ll miss Molina.
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Molina asks Valentin to kiss him, because even though they have had sex, the two have never kissed. Valentin hesitates, teasing that Molina is like the Irena the panther woman from the first film. He then amends this: Molina is a spider woman who traps men in her web. They kiss, and Valentin says he has learned a lot from Molina. He makes Molina promise not to let anyone “push [him] around.” They have sex. Afterward, Molina agrees to pass a message to Valentin’s comrades.
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