One of the things I think about when we talk about a violence,and relationship to spirituality is that it seems to me when you take something from someone that isn't yours or you hurt someone else, fundamentally, you actually do that to yourself. You actually unmake yourself, you work against your own being and your own matter.

When I wrote 'The Good Body,' I turned 40 and suddenly had this stomach. It seemed like the end of the world. Because I didn't value my body. I was constantly judging it, but I also didn't live in it.

The clitoris is pure in purpose. It is the only organ in the body designed purely for pleasure.

When I was younger I was much more polemical and didactic, much less trusting. Inherently my own vision of the world would weave its way through the characters. Also, my concerns are changing. What happens is you write a few plays and get boxed into some idea of what your concerns are and what you're supposed to be writing about.

Naming things, breaking through taboos and denial is the most dangerous, terrifying, and crucial work. This has to happen in spite of political climates or coercions, in spite of careers being won or lost, in spite of the fear of being criticized, outcast, or disliked. I believe freedom begins with naming things. Humanity is preserved by it.

If you listen to the real in you, that part that's pulsing and has questions and is trying to figure something out, it will shape your life in a way where, when you get to be sixty, you'll succeed. You'll be happy about your life.

There's an underlying puritanicalness in America that is not that different to the prudishness of Britain - it just manifests itself in different ways.