Edmund White Quotes
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In Paris, AIDS was dismissed as an American phobia until French people started dying; then everyone said, 'Well, you have to die some way or another.' If Americans were hysterical and pragmatic, the French were fatalistic: depressed but determined to keep the party going.
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I do probably come down a little hard on a group of people I call the 'blue chip gays.' I mean people who have managed to become very, very famous and are still very famous partly through staying in the closet, like Jasper Johns, Cy Twombly, Susan Sontag, Harold Brodkey and others.
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Sometimes Peggy herself would sell tickets to her museum, and if tourists asked her if Mrs. Guggenheim was still alive, she'd assure them she wasn't.
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Key West is the place where your sickly house plant back in New York grows to 10 ft. It's also the place where an 8-ft. cactus, the century plant, produces a huge yellow flower every great once in a while, like a robot proffering a bouquet. After the plant flowers, it dies.
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AIDS had won gays sympathy; they no longer seemed the privileged brats that the general populace had resented in the 1970s.
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Paris can be like the land of the Lotus-Eaters. You can't leave.
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The natural enmity between leaver and left is like the absolute, immediate and always shifting hostility between driver and pedestrian.
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America thrives on identity politics, left and right. But France is opposed to the idea. Since the Revolution, the French have enthroned the idea of universalism. All of us must be equal before the law as abstract individuals, and that extends to the arts.
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In 'A Boy's Own Story' and 'Jack Holmes and His Friend,' my idea was to take someone totally different from my real self and, at the same time, to assign to him my own life trajectory.
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I didn't get anything published until I was thirty-three, and yet I'd written five novels and six or seven plays. The plays, I should point out, were dreadful.
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Nobody in France would ever say 'He's a Jewish novelist' or 'She's a black novelist,' even though people do write about those subjects. It would look absurd to a French person to go into a bookstore and see a 'Gay Studies' section.
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I'm an atheist, I always thought, 'This is it.' If there is going to be a heaven, it should be on earth. I feel much happier than most people. I'm fairly stoic about death, but I'm not keen on dying if it's going to be long and protracted. I don't have dark nights of the soul, except occasionally. I'm such a little busy bee.
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When I was young, I despised old people. I was provincial and narrow-minded. It's the reason I stayed stupid so long. If you only get involved with young people you don't learn anything about the world.
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Originally, I was against gay marriage because I was opposed to all marriage, being an old-fashioned gay bohemian. The straight people I knew in the sixties were very much opposed to it. I was, too, and it was never a possibility for gays, but when I saw how opposed the Religious Right was to it, I thought it a fight worth fighting.
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The French are pretty thin-skinned. The few times I mentioned a French writer in 'City Boy,' the relatives would ring up in high dudgeon. I once wrote a mocking review of Marguerite Duras in the 'New York Review of Books,' and good friends of mine in France got very angry.
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In the 1970s in New York, everyone slept till noon. It was a grungy, dangerous, bankrupt city without normal services most of the time. The garbage piled up and stank during long strikes by the sanitation workers. A major blackout led to days and days of looting. The city seemed either frightening or risible to the rest of the nation.
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Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great.
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All his leisure clothes were absurd - jokes, really - as though leisure itself had to be ridiculed.
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I can think of no other writer who so thoroughly embodies the Jamesian spirit as Alison Lurie. Like him she can excavate all the possibilities of a theme. Like his, her books seem long, unbroken threads, seamless progressions of effects.
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The great triumph of the Sixties was to dramatize just how arbitrary and constructed the seeming normality of the Fifties had been. We rose up from our maple-wood twin beds and fell onto the great squishy, heated water bed of the Sixties.
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The talk shows in the States want celebrities, not authors. In France, it is different; writers are called upon to comment on everything. They have a very public role there.
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I was never an assimilationist. I always thought gays had some special mission.
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There ought to be more grants that go to people in their late twenties and early thirties. That's a crucial age, although it's very hard to judge who is worth supporting and who is not. Looking back on my own life, I see that was the period when I was closest to giving up as a novelist and when I most needed some encouragement.
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Some writers are so enthralled by ideas (one thinks of Doris Lessing) that their characters become debaters, and their fables approach allegory.