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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There was a certain hum that would be generated by the book when I was writing well; I'd stop working the instant that hum snapped off.
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Reading the several thousand pages of Christopher Isherwood's complete journals is an instructive corrective to the prissiness of reading fiction. Isherwood had faults that we'd say were unforgiveable in a novel (he was careful to distance himself from these in his autobiographical fiction).
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Readers of novels often fall into the bad habit of being overly exacting about the characters' moral flaws. They apply to these fictional beings standards that no one they know in real life could possibly meet.
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A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people.
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I didn't get anything published until I was thirty-three, and yet I'd written five novels and six or seven plays. The plays, I should point out, were dreadful.
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'One Hundred Years of Solitude' is a masterpiece because it is an episodic novel that has a rigorous form - an unprecedented combination. From the very beginning we know the town of Macondo will endure only a century, so there is a limit to the length of the narrative.
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There are a lot of historical novelists who do the research about the clothes and maybe even the eating utensils, but they're basically taking modern people and putting them in old drag - it's sort of the 'Gone With the Wind' approach.
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With my gaudy, exotic material I wanted to create large, dreamy constructions that would not be decorative but powerfully expressive.
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Part of my problem as a young writer was that I was too much a New Yorker, always second-guessing the 'market.' I became so discouraged that I decided to write something that would please me alone - that became my sole criterion. And that was when I wrote 'Forgetting Elena,' the first novel I got published.
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I suppose people hadn't really thought each decade should have its own character and be different from the others till the 1920s, although I remember in a nineteenth-century Russian novel someone remarked that a character was a typical man of the 1830s - progressive and an atheist.
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There ought to be more grants that go to people in their late twenties and early thirties. That's a crucial age, although it's very hard to judge who is worth supporting and who is not. Looking back on my own life, I see that was the period when I was closest to giving up as a novelist and when I most needed some encouragement.
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Whereas fiction is a continual discovery of what one wants to say, what one feels, what one means, and is, in that sense, a performance art, biography requires different skills - research and organization.
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I abandoned fiction for playwriting then for a number of years before taking it up again to write The Beautiful Room Is Empty in the mid-1960s.
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I quickly discovered that I wrote best when I had an audience to read out loud to soon after the completion of my latest, hottest pages.