Tonight, I've finally learned to tell fantasy from reality. And, knowing the difference, I choose fantasy.

I now know that to do a worthwhile family history I must interpret the past without falling into either demonizing or unquestioning acceptance. . . . As a playwright, what I object to right now is any form of fundamentalism, whether it's nationalistic, religious or ethnic. . . . I think it is ridiculous - and fundamentalist, by the way - to say that I am not changed by the culture around me.

I've never quite understood the idea of a "season." Whenever an artistic director says to me, 'I have this slot,' I always start to feel we're parking cars or something.

The West believes the East, deep down, wants to be dominated, because a woman can’t think for herself

I define the American dream as the ability to imagine a way that you want your life to turn out, and have a reasonable hope that you can achieve that.

Yes, I am one of those people who feels that most of my work is adaptation of one sort or another. For me, it's a way to jump-start the engine. For example, some people use the technique of basing a character on a friend. They start writing with his or her voice, then at a certain point, the character takes off on his or her own. It probably no longer resembles the model, but it helped the author to get going. I find that's true of form, too. For every play I've written, I know what play I was trying to imitate. That helps me get going.

Sometimes I hate you, sometimes I hate myself, but always I miss you