The representation of reality really does seem to be the essential literary exercise; that is, leaving aside aesthetic theories, simply turning experience or observation into literature. In time, the limits that reality itself offers become evident, and then the artist may choose to take a step forward. It is curious to note that the highest works often originate from this motivation: to achieve through art what reality does not allow. There seems to be, in artists taken by this obsession, a point in life when the reality is exhausted, or at the very least becomes insufficient. Hence, all previous training is employed to make mental creation a literary reality as patent as that motivated by direct experience. And to see that, in many cases, the former still manages to stand out.