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.
— Edmund White
I suppose people hadn't really thought each decade should have its own character and be different from the others till the 1920s, although I remember in a nineteenth-century Russian novel someone remarked that a character was a typical man of the 1830s - progressive and an atheist.
When a woman falls in love with me, I feel guilty. I am convinced that it's pure obstinacy that keeps me from reciprocating her passion. As I explain to her that I'm gay, it sounds, even to me, like a silly excuse; I scarcely believe it myself.
I think I could be a cook. Everybody always says I'm good, though I think it's quite gruelling as a profession.
I was always ambitious - not to make money: to be published.
There are a lot of historical novelists who do the research about the clothes and maybe even the eating utensils, but they're basically taking modern people and putting them in old drag - it's sort of the 'Gone With the Wind' approach.
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.
Women and gay men have something in common after all: in that they are trying to deal with this goofy egotistical monster called a man.
The Internet's impact is immense. My students can't imagine ever paying for a book.
It's true that Paris is made up of equal parts of social conservatism and anarchic experimentation, but foreigners never quite know where to place the moral accent mark.
I've always seen writing as a way of telling the truth. For me, writing is about truth. I have always tried to be faithful to my own experience.
When I was a child, I loved 'The Marble Faun' by Nathaniel Hawthorne. The reason I liked it was because it had a beautiful binding. When you're a kid, you like books because they're pretty to look at, and this one had a white calfskin cover and gold edges. That was enough to make me love it.
I longed for literary celebrity even as I saw with my own eyes how little happiness it brought.
I think I'm very stoic. Death and dying are things that I'm used to.
Nothing lasts in New York. The life that is lived there, however, is as intense as it gets.
In a memoir, your main contract with the reader is to tell the truth, no matter how bizarre.
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.
I lived through the Fifties in the Midwest when everything that was happening - the repression of homosexuality, for instance, the demonization of the Left, the giggly, soporific ordinariness of adolescence, the stone-deafness to the social injustice all around us - seemed not only unobjectionable but also nonexistent.
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.
Originally I was opposed to gay assimilation and targeted gay marriage as just another effort on the part of gays to resemble their straight neighbours.
Fiction is the thing I esteem most in my own work; I feel that, even if it's no good, only I could have written those books.
The one thing that is sort of sneered at and not really believed is bisexuality. Any bisexual man is just seen as a closeted gay man. That shows how narrow-minded people are. The other thing that's totally neglected and which nobody approves of is celibacy. People again assume that you're just repressing something.
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.
If you're a beach person or a golfer, Key West is not for you. Most of the sand has been imported, and the water is shallow until you've waded far out, and all the way the sea floor is covered with yucky algae and sea grass.
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.
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.
If I had been straight, I would have been an entirely different person. I would never have turned toward writing with a burning desire to confess, to understand, to justify myself in the eyes of others... I wouldn't have been impelled to live in New York and choose the hard poverty of bohemia over the soft comfort of the business world.
I've always been impelled to say the truth. When I was 14, in 1954, I already wrote a gay novel, though I'd never read one. I felt that life handed me a great subject, gay life, that had scarcely been examined, and I was impelled to record it in all its strange detail.
When I was living in Paris in the '80s, I used to go out with an American model who couldn't speak French. But suddenly everyone could speak English because he was so cute.
My mother was terribly invasive, all in the name of psychiatric honesty. It was a bad thing in some ways, but I do think it had the effect of making me interested in 'the truth' as a writer - more than beauty, more than having a shapely story.
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.
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.
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.
'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.
In retrospect, we could see that the 1950s had been a reactionary period in America of Eisenhower blandness, of virulent anticommunism, of the 'Feminine Mystique.'
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.
Just like Barack Obama, my views on gay marriage have evolved, and now I am a reluctant groom.
When I was in college, I was always saying I was a socialist.
I'm not such a fan of imagination. If you're alive to details, they oftentimes suggest a richer or deeper imaginative line than you would have imagined.
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.
I can remember in the late 1980s and early 1990s how many men with AIDS I saw everywhere in Key West. There were hospices and medical supply stores geared to people with AIDS. It seemed that every sick man who could afford it had headed for the warmth and the tranquillity and the gay-friendliness of the island.
There is a whole industry in America of people who want to write, and those who teach it. Even if the students don't end up writing, what's good about them taking the courses is, they become great readers, learning to appreciate the writing.
I hate writing. I almost never write. I write against deadlines. And when I'm teaching, I'm focused on that.
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.
I used to think that I could be successful if I pretended to be a 23-year-old black woman. I wanted to find a young black woman who would be willing to go in on this with me. I would write her novels, and then she would do the touring. I always thought I was too old and the wrong color.
Paris can be like the land of the Lotus-Eaters. You can't leave.
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.
New York has been the subject of thousands of books. Every immigrant group has had its saga as has every epoch and social class.
In a novel, I think you have a contract with the reader to make the character representative - of a moment in history, a social class... for instance, I wanted to make the boy in 'A Boy's Own Story' more like other gay men of my generation in their youth and not like me.
Perhaps no other body of literature is as subject to political pressures from within the community as gay fiction.
