Top 147 Quotes & Sayings by Edmund White
Explore popular quotes and sayings by an American novelist Edmund White.
Last updated on December 23, 2024.
Whereas fiction is a continual discovery of what one wants to say, what one feels, what one means, and is, in that sense, a performance art, biography requires different skills - research and organization.
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.
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 think sincerity was my sole aesthetic and realism my experimental technique.
Everyone seems agreed that writing about sex is perilous, partly because it threatens to swamp highly individualised characters in a generic, featureless activity (much like coffee-cup dialogue, during which everyone sounds the same), and partly because it feels... tacky.
Of course the success of A Boy's Own Story took me utterly off guard.
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.
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.
I always feel I'm better known in England than I am here in the U.S. Americans don't read that much, and the French are very good at knowing the names of everybody.
I've accompanied several dying people on their travels, and the desert seems to be a favored destination. It is very hot and dry and lyrical in its own way.
I was working for Time-Life Books from 1962 to 1970, as a staff writer, and after that, I was a journalist. Eventually, I became an editor at 'The Saturday Review' and 'Horizon.'
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.
From an early age, I had the idea that writing was truth-telling. It's on the record. Everybody can see it. Maybe it goes back to the sacred origins of literature - the holy book. There's nothing holy about it for me, but it should be serious, and it should be totally transparent.
Barack Obama's decision to come out in favour of gay marriage may be a historic occasion, but it is not an isolated one. His administration has been making pro-gay noises for some time; his demographic in the upcoming election is young and educated, precisely the group that favours equality for the LGBT community.
A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people.
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.
If bigots oppose gay marriage so vehemently, it must be because marriage is a defining institution for them; gays will never be fully accepted until they can marry and adopt, like anyone else.
I never liked my father. He really was a dullard and misanthrope. My mother and he were married for 22, years and it was an ill match. She encouraged me to be a writer. She opened her home to black friends, and this was the 1950s. She didn't care later when I write about her.
First, I was opposed to gay marriage because it seemed like one more way that gays were wanting to assimilate. When I realized the Christian right was so opposed to it, as well as tyrannical governments in Africa and Russia, I thought, 'It must be a good thing to fight for.'
I was never an assimilationist. I always thought gays had some special mission.
The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.
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).
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.
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.
The culmination of a long struggle was 2013, which could clearly be labeled the Year of the Gay. State after state had legalized gay marriage, despite intense opposition from the religious right.
In a memoir, your main contract with the reader is to tell the truth, no matter how bizarre.
These rejections hurt me terribly because I felt it was my life that was being rejected.
In the case of my book, I don't think it's really the coming-out gay novel that everyone really needed, even though it was received as such. The boy is too creepy, he betrays his teacher, the only adult man with whom he's enjoyed a sexual experience, etc.
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.
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.
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.
I think I'm very stoic. Death and dying are things that I'm used to.
Why did mainstream America come to accept marriage equality? Gay leaders had made a convincing case that gay families were like straight families and should have the same rights. The American spirit of fair play had been invoked.
Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great.
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.
I've always deplored bad heterosexual values that dictate the minute a marriage is over the former partners no longer speak to each other; only straights could be so cruel and inhuman as to reject totally the person with whom they've shared their life for 20 or 30 years.
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.
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.
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.
It always seemed much better to be a writer - a Real Writer - than a successful hack.
Europeans forget that one-third of the American people have had a personal conversation with Jesus Christ and that the born-again are not just little old ladies in black but also CEOs and provosts of universities and candidates for office.
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.
I don't have to get married myself in order to campaign on behalf of gay marriage.
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.
I was too prissy, too refined, too abstemious, too French to be a good American writer.
AIDS had won gays sympathy; they no longer seemed the privileged brats that the general populace had resented in the 1970s.
I didn't want to write a biographie romancee especially since I already write novels, nor did I want to challenge the rules of the biography game, arbitrary as those rules might be.
I asked my body if it was going to die or not from AIDS. And it said 'no.' I sort of paid attention to that.
One of the side benefits of staying in the closet is you can have a much bigger career.
When my lover Hubert Sorin was dying of AIDS, he was always trying to fix me up - posthumously, as it were - with the cute busboy at the hotel.
'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.
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.
I think that there are empty ecological niches in the literary landscape crying to be filled and when a book more or less fills a niche it's seized on, even when it's a far from perfect fit.
As a young teenager I looked desperately for things to read that might excuse me or assure me I wasn't the only one, that might confirm an identity I was unhappily piecing together.
Readers of novels often fall into the bad habit of being overly exacting about the characters' moral flaws. They apply to these fictional beings standards that no one they know in real life could possibly meet.
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.
New York has been the subject of thousands of books. Every immigrant group has had its saga as has every epoch and social class.
Reading the several thousand pages of Christopher Isherwood's complete journals is an instructive corrective to the prissiness of reading fiction. Isherwood had faults that we'd say were unforgiveable in a novel (he was careful to distance himself from these in his autobiographical fiction).
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.
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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