I know all about the tyranny of women.

I'm much more conscious of historical events since the '60s. In the '60s, I was insulated by my own addictions, my own lifestyle, from what was going on in the world. After I recovered I was amazed at certain people who had died. I hadn't noticed that they had gone. Not friends ... I'm talking about public figures who had passed away.

I have found it easier to identify with the characters who verge upon hysteria, who were frightened of life, who were desperate to reach out to another person. But these seemingly fragile people are the strong people really.

Q.Do you have any positive message, in your opinion? A.Indeed I do think that I do. Q.Such as what? A.The crying, almost screaming, need of a great worldwide human effort to know ourselves and each other a great deal better, well enough to concede that no man has a monopoly on right or virtue any more than any man has a corner on duplicity and evil and so forth. If people, and races and nations, would start with that self-manifest truth, then I think that the world could sidestep the sort of corruption which I have involuntarily chosen as the basic, allegorical theme of my plays as a whole.

Being a memory play, it is dimly lighted, it is sentimental. It is not realistic.

But there are things that happen between a man and a woman in the dark -- that sort of make everything else seem -- unimportant.

Somebody said once or wrote, once: 'We're all of us children in a vast kindergarten trying to spell God's name with the wrong alphabet blocks!