There is chaos behind the civility, of course.

What I wanted to get at is the value difference between pornographic playing-cards when you're a kid, and pornographic playing-cards when you're older. It's that when you're a kid you use the cards as a substitute for a real experience, and when you're older you use real experience as a substitute for the fantasy.

The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.

Every monster was a man first.

I don't pay much attention to how the plays relate thematically to each other. I think that's very dangerous to do, because in the theater one is self-conscious enough without planning ahead or wondering about the thematic relation from one play to the next. One hopes that one is developing, and writing interestingly, and that's where it should end, I think.

I have a fine sense of the ridiculous, but no sense of humor.

Naturally, no writer who's any good at all would sit down and put a sheet of paper in a typewriter and start typing a play unless he knew what he was writing about.