A Quote by M. H. Abrams
The Romantics were whipping boys of the New Criticism, but they appealed to me anyway. I was recalcitrant. It was clear to me that they had thought innovatively.
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I had this dream...that we had this new sixth member, for some reason, and he actually ended up being quite horrible! And he started a fight with me! And I wanted him to go away and none of the boys were helping me!
I did feel a bit of an outsider in the Eighties. But there was a market for me out there. New Romantics were totally different.
Living with these teenage boys allowed me to see how much their psyches were like their girl counterparts. They were more familiar to me than I would have thought.
We had three small bedrooms. There were five boys in the back, top and tail, the girls in the front. Me and Leslie, the two youngest, were in with our parents. I was very happy but when they all got married and moved out Leslie and I thought we were kings.
When Brian told me he grew up in New Mexico, I told him I thought it is cool that people from other countries play football. He corrected me on my geography and agreed to sit down with me anyway.
I'm an only child, so I never had sisters to tell me what I should like based on my gender. I liked what the boys were doing and thought: 'Why let them have all the fun?'
When I was really little, it was very clear to me that I felt like a boy, and my friends were all boys.
We were good boys, good Presbyterian boys, and loyal and all that; anyway, we were good Presbyterian boys when the weather was doubtful; when it was fair, we did wander a little from the fold.
When I started in comics, people were always trying to classify me as either/or. Either a writer who appealed to women or a writer who appealed to guys. This need to categorize was just exhausting.
People are more interested in reading bombastic ideas, whether they're positive or negative. Part of me has sort of lost interest in doing criticism because of that. I've always realized that criticism is basically autobiography. Obviously in my criticism, it's very clear that it's autobiography, but I think it's that way for everybody.
What appealed to me about 'The Loved Ones' script was that it had this really theatrical element to it. I thought that the scope of this character is so broad, and there is so much fun to be had playing a crazy teenage loner. It was a great way to explore the delusions a mind can create.
When I left the Senate in 1979, there were several publishers who had approached me about writing an autobiography, and I knew that politicians write books for many reasons, but at that time, I just thought I wasn't ready and my story wasn't over, and I knew I had a new life ahead of me.
Cary Grant and I were doing a play in New York. He had a crush on me. Whenever we went to a party, he would always sit on the floor beside me. I thought that was kind of beautiful, like that's where he wanted to be.
I gathered that those two Big-shot Boys, Joe + Fletcher, just was afraid to let me sing, thinking maybe I'd sort of ruin their reputations with their musical public. They not knowing that I had been singing all of my life. In churches, etc. I had one of the finest All Boys Quartets that ever walked the streets of New Orleans.
Did groupies ever interest me? No. I'm a pleasure seeker, and I like going bananas, but that's never appealed to me. I always thought it was a little bit naff.
You liked me." I smiled. "You were smitten with me. You were speechless to behold my beauty. You had never met anyone so fascinating. You thought of me every waking minute. You dreamed about me. You couldn't stand it. You couldn't let such wonderfulness out of your sight. You had to follow me." I turned to Cinnamon. He licked my nose. "Don't give yourself so much credit. It was your rat I was after." She laughed, and the desert sang.
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