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 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 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.

The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.

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.

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.

Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great.

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.

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 think sincerity was my sole aesthetic and realism my experimental technique.

These rejections hurt me terribly because I felt it was my life that was being rejected.

'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 Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.

'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.

A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people.

AIDS had won gays sympathy; they no longer seemed the privileged brats that the general populace had resented in the 1970s.

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.

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.

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.

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.

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.

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.

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.

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.'

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.

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 asked my body if it was going to die or not from AIDS. And it said 'no.' I sort of paid attention to that.

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 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 changed my writing style deliberately. My first two novels were written in a very self-consciously literary way. After I embraced gay subject matter, which was then new, I didn't want to stand in its way. I wanted to make the style as transparent as possible so I could get on with it and tell the story, which was inherently interesting.

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 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.

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

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

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.

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

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.

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.

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

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

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

I was never an assimilationist. I always thought gays had some special mission.

I was too prissy, too refined, too abstemious, too French to be a good American writer.

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.'

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'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'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.