Edmund White Quotes
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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 Stonewall riots were a key moment for gay people. Throughout modern history, gays had thought of themselves as something like a mental illness or maybe a sin or a crime. Gay liberation allowed us to make the leap to being a 'minority group,' which made life much easier.
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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.
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Paradoxically, since gay men rarely have gay parents, cultural transmission must come from friends or strangers (a problem since the generations so seldom mix in gay life).
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In the middle of my sophomore year, I was sent to boarding school, at the Cranbrook School for boys, in Bloomfield Hills, Michigan, where I fell in love with Marilyn Monroe. I knew that she was the most beautiful woman in the world, and yet she was in pain, in need. She was unhappy. I believed that I could help her.
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All his leisure clothes were absurd - jokes, really - as though leisure itself had to be ridiculed.
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'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
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In his enigmatic and cunning story 'The Crown of Feathers,' Isaac Bashevis Singer refuses to produce uncontradictory evidence of God's will but rather mixes all signals, jams the evidence, stalls every conclusion.
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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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Of course the success of A Boy's Own Story took me utterly off guard.
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I think sincerity was my sole aesthetic and realism my experimental technique.
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Early on, after gay liberation, there was an almost Stalinist pressure from gay critics and even gay readers to write about positive role models. We were never supposed to write negative things about gays, or else we were seen as collaborating with the enemy.
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If I take a less defensive tone, I'd admit that I couldn't write today a very jazzy, contemporary look at America as I did in 1979 in States of Desire.
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My father was a misanthrope who slept all day and stayed up all night so that he wouldn't have to see people. He ran a business with a large staff but would go there at night and leave things for them to do during the day when he wasn't there.
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'One Hundred Years of Solitude' is a masterpiece because it is an episodic novel that has a rigorous form - an unprecedented combination. From the very beginning we know the town of Macondo will endure only a century, so there is a limit to the length of the narrative.
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Few writers in history have ever been 'politically correct' (a notion that rapidly changes in any case), and there's no reason to imagine that gay writers will ever suit their readers, especially since that readership is splintered into ghettos within ghettos.
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I think I'm very stoic. Death and dying are things that I'm used to.
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Part of my problem as a young writer was that I was too much a New Yorker, always second-guessing the 'market.' I became so discouraged that I decided to write something that would please me alone - that became my sole criterion. And that was when I wrote 'Forgetting Elena,' the first novel I got published.
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'The Truth About Lorin Jones' will undoubtedly shock and offend as many readers as it will amuse, since it dares to make fun of feminism - of its manners, if not its politics.
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Most writers tend to get worse rather than better. I'm determined to be one that gets better.
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Since, in the best Southern tradition, I was named Edmund Valentine White III, sometimes when people look up my books on Amazon they find 'Chocolate Drops from the South' by my grandfather.
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While writing 'City Boy,' I relied mainly on my own memories. In particular, I was able to describe the effect of gay liberation on an individual life (mine) as events paralleled my own growing self-acceptance; in this case, the political truly was the personal.
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My father was a sort of John Wayne Texan who'd worked as a cowboy when he was young. He'd participated in rattlesnake round-ups and swum with copperheads.
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Looking back, I can see that the women I loved, at least early on, were status symbols. I suppose, in that sense, I was my mother's true disciple. She'd taught me that a good man, though elusive, could transform one's whole life once he was caught.