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 think I'll always be a better playwright than a pundit, but I believe that writers should be public intellectuals and that theater, even more than film, is a place of public debate.

When I used to teach writing, what I would tell my playwriting students is that while you're writing your plays, you're also writing the playwright. You're developing yourself as a persona, as a public persona. It's going to be partly exposed through the writing itself and partly created by all the paraphernalia that attaches itself to writing. But you aren't simply an invisible being or your own private being at work. You're kind of a public figure, as well.

I just wondered what a thing it would be...if overnight everything you owe anything to, justice, or love, had really gone away. Free. It would be...heartless terror. Yes. Terrible, and... Very great. To shed your skin, every old skin, one by one and then walk away, unemcumbered, into the morning.

The computer, the noise of the computer feels like impatience. It's sort of the sound of impatience to me.

In the modern era, it isn't enough to write, you must also be the Writer, with a capital 'W,' and play your part as the protagonist in the cautionary narrative in which you will fail or triumph, be in or out, hot or cold, ride the wheel of fortune.

Before the boiling of blood and the searing of skin comes the secret catastrophe: Before Life on Earth becomes finally merely impossible, it will for a long time before have become completely unbearable.