Gay writers now have both a sense of history and the fables that allows them to dwell in the realms of the ridiculous and at the same time talk seriously about things.

I'm a sort of political person, and I feel that there's a kind of ineradicably political dimension to theater, to all theater, whether it's overtly political or not.

It isn't easy, it doesn't count if it's easy, it's the hardest thing. Forgiveness. Which is maybe where love and justice finally meet.

The kind of theater that I do is sort of ‘narrative realism,’ which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.

I don't know anything about making movies. I'd never been on a film set. I'm really kind of an idiot when it comes to figuring out where objects are in space. If they're both moving, I can't do the math. If you ever see me driving down a road, go somewhere else quickly.

You have a strange relationship with calamity when you're a writer: you write about it; as an artist, you objectify and fetishize it. You render life into material, and that's a creepy thing to do.

The dreams of the left are always beautiful - the imagining of a better world, the damnation of the present one. This faith, this luminescent anger - these are worthy of being called human. These are the Beautiful that an age produces.