Edmund White
Edmund White
Edmund Valentine White IIIis an American novelist, memoirist, and an essayist on literary and social topics. Much of his writing is on the theme of same-sex love. Probably his best-known books are The Joy of Gay Sexand his trio of autobiographic novels, A Boy's Own Story, The Beautiful Room Is Emptyand The Farewell Symphony...
NationalityAmerican
ProfessionNovelist
Date of Birth13 January 1940
CountryUnited States of America
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First, I was opposed to gay marriage because it seemed like one more way that gays were wanting to assimilate. When I realized the Christian right was so opposed to it, as well as tyrannical governments in Africa and Russia, I thought, 'It must be a good thing to fight for.'
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Originally I was opposed to gay assimilation and targeted gay marriage as just another effort on the part of gays to resemble their straight neighbours.
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I've always been impelled to say the truth. When I was 14, in 1954, I already wrote a gay novel, though I'd never read one. I felt that life handed me a great subject, gay life, that had scarcely been examined, and I was impelled to record it in all its strange detail.
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While writing 'City Boy,' I relied mainly on my own memories. In particular, I was able to describe the effect of gay liberation on an individual life (mine) as events paralleled my own growing self-acceptance; in this case, the political truly was the personal.
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There is an enormous pressure placed on gay novelists because they are the only spokespeople. The novelist's first obligation is to be true to his own vision, not to be some sort of common denominator or public relations man to all gay people.
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The scorn directed against drags is especially virulent; they have become the outcasts of gay life, the "queers" of homosexuality.In fact, they are classic scapegoats. Our old fears about our sissiness, still with us though masked by the new macho fascism, are now located, isolated, quarantined through our persecution of the transvestite.
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San Francisco is where gay fantasies come true, and the problem the city presents is whether, after all, we wanted these particular dreams to be fulfilled--or would we have preferred others? Did we know what price these dreams would exact? Did we anticipate the ways in which, vivid and continuous, they would unsuit us for the business of daily life? Or should our notion of daily life itself be transformed?
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In the case of my book, I don't think it's really the coming-out gay novel that everyone really needed, even though it was received as such. The boy is too creepy, he betrays his teacher, the only adult man with whom he's enjoyed a sexual experience, etc.
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Dreadful is a poignant biography of a forgotten man who drank himself to death. It's a brilliant evocation of a self-hating gay novelist in the 1940s whom Gore Vidal once considered a rival.
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If bigots oppose gay marriage so vehemently, it must be because marriage is a defining institution for them; gays will never be fully accepted until they can marry and adopt, like anyone else.
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In a novel, I think you have a contract with the reader to make the character representative - of a moment in history, a social class... for instance, I wanted to make the boy in 'A Boy's Own Story' more like other gay men of my generation in their youth and not like me.
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The Stonewall riots were a key moment for gay people. Throughout modern history, gays had thought of themselves as something like a mental illness or maybe a sin or a crime. Gay liberation allowed us to make the leap to being a 'minority group,' which made life much easier.
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Paradoxically, since gay men rarely have gay parents, cultural transmission must come from friends or strangers (a problem since the generations so seldom mix in gay life).
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Barack Obama's decision to come out in favour of gay marriage may be a historic occasion, but it is not an isolated one. His administration has been making pro-gay noises for some time; his demographic in the upcoming election is young and educated, precisely the group that favours equality for the LGBT community.