Edmund White Men Quotations

There is an enormous pressure placed on gay novelists because they are the only spokespeople. The novelist's first obligation is to be true to his own vision, not to be some sort of common denominator or public relations man to all gay people.

Energy in itself is a sort of redemption. No wonder we admire Satan. But if the Devil were listless, if he were a pale man in his underwear who watched television by day behind closed venetian blinds - oh if that were the devil I would fear him.

Dreadful is a poignant biography of a forgotten man who drank himself to death. It's a brilliant evocation of a self-hating gay novelist in the 1940s whom Gore Vidal once considered a rival.

Perhaps I became so vague, so exhilarated with vagueness, precisely in order to forestall a recognition of the final term of the syllogism that begins: If one man loves another he is a homosexual; I love a man...

Do we regard language as more public, more ceremonial, than thought? Just as family men condemn the profanity on the stage that they use constantly in conversation, in the same way we may look to written language as an idealization rather than a reflection of ourselves.

There was something stubborn in me that didn't want to lose weight to attract a man. If the right man came along, he'd be able to see my virtues magically. Once he kissed me, the frog would turn into a prince. I had become a trick question, a heavy disguise, but behind the disobliging exterior was the welcoming child I would always be. Of course, what I'd forgotten was that he was not Parsifal and I was not the Grail; the medievalism of my imagination was not sufficiently up-to-date to recognize that the lover was a shopper and I a product.

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.

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.

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 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.

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.

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 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.

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).

I think it's really interesting to talk about Foucault in one chapter and smelling poop in the basement in the next. It seems to me that life is just that complicated.