I love the working class, and everyone from it that I've met, and think they're incredible witty, inventive - there's a lot of poetry there. A lot of rough stuff as well. What there is, too, is an awful lot of expressiveness and intelligence and originality down there. And a lot of thwarted intelligence.

You can't be up the reader's ass, as many a writer I think is - cute as hell, ingratiating as hell. But that's not loving the reader in the right way. That's toadying to the reader.

I don't think I'd like Manhattan anymore. My mother-in-law lives there, and you go there. But I like looking at it from a distance. It's a fantastic sight - every time, it awes me.

Vidal gives the impression of believing that the entire heterosexual edifice - registry offices, 'Romeo and Juliet,' the disposable diaper - is just a sorry story of self-hypnosis and mass hysteria: a hoax, a racket, or sheer propaganda.

Often it doesn't occur to you what kind of novel you're writing until quite late on.

If you feel you have a strong constituency among the young, you can really die happy, because the great unanswered question, the only valid value judgment is whether you're going to last, and that tells you that you are, for a bit at least.

Style isn't something added on; it's intrinsic to the perceptions and the way you see life.