One of the side benefits of staying in the closet is you can have a much bigger career.

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).

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.

I don't have to get married myself in order to campaign on behalf of gay marriage.

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.

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.'

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.

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.

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).

Sometimes Peggy herself would sell tickets to her museum, and if tourists asked her if Mrs. Guggenheim was still alive, she'd assure them she wasn't.

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.

Most writers tend to get worse rather than better. I'm determined to be one that gets better.

Some writers are so enthralled by ideas (one thinks of Doris Lessing) that their characters become debaters, and their fables approach allegory.

'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.

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.

Perhaps no other body of literature is as subject to political pressures from within the community as gay fiction.

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.

In a memoir, your main contract with the reader is to tell the truth, no matter how bizarre.

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.

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.

New York has been the subject of thousands of books. Every immigrant group has had its saga as has every epoch and social class.

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.

I think I'm very stoic. Death and dying are things that I'm used to.

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.

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.

I longed for literary celebrity even as I saw with my own eyes how little happiness it brought.

Paris can be like the land of the Lotus-Eaters. You can't leave.

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.

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 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.

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.

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 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.

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.

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 hate writing. I almost never write. I write against deadlines. And when I'm teaching, I'm focused on that.

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.

The Internet's impact is immense. My students can't imagine ever paying for a book.

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.

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.

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.

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.

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.

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.

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.

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.

I was always ambitious - not to make money: to be published.

When I was in college, I was always saying I was a socialist.

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.

I think I could be a cook. Everybody always says I'm good, though I think it's quite gruelling as a profession.