Lgbt People

"When a child, my dreams rode on your wishes, I was your son, high on your horse, My mind a top whipped by the lashes Of your rhetoric, windy of course."

"There is a certain justice in criticism. The critic is like a midwife — a tyrannical midwife."

"I simply had to get there."

"I am very honoured by your wanting to write a life of me. But the fact is I regard my life as rather a failure in the only thing in which I wanted it to succeed. I have not written the books I ought to have written and I have written a lot of books I should not have written. My life as lived by me has been interesting to me but to write truthfully about it would probably cause much pain to people close to me — and I always feel that the feelings of the living are more important than the monuments of the dead."

"Great poetry is always written by somebody straining to go beyond what he can do."

"Since we are what we are, what shall we be But what we are? We are, we have Six feet and seventy years, to see The light, and then resign it for the grave."

"The ultimate aim of politics is not politics, but the activities which can be practised within the political framework of the State. Therefore an effective statement of these activities — e.g. science, art, religion — is in itself a declaration of ultimate aims around which the political means will crystallise … a society with no values outside of politics is a machine carrying its human cargo, with no purpose in its institutions reflecting their care, eternal aspirations, loneliness, need for love."

"A poet can only write about what is true to his own experience, not about what he would like to be true to his experience. Poetry does not state truth, it states the conditions within which something felt is true. Even while he is writing about the little portion of reality which is part of his experience, the poet may be conscious of a different reality outside. His problem is to relate the small truth to the sense of a wider, perhaps theoretically known, truth outside his experience."

"Then, as they land, they hear the tolling bell Reaching across the landscape of hysteria, To where larger than all the charcoaled batteries And imaged towers against that dying sky, Religion stands, the church blocking the sun."

"In the last sweep of love, they pass over fields Behind the aerodrome, where boys play all day Hacking dead grass: whose cries, like wild birds Settle upon the nearest roofs But soon are hid under the loud city."

"More beautiful and soft than any moth With burring furred antennae feeling its huge path Through dusk, the air-liner with shut-off engines Glides over suburbs and the sleeves set trailing tall To point the wind. Gently, broadly, she falls, Scarcely disturbing charted currents of air."

"What drew me to those two people was that both of them wanted peace and insisted on working toward peace. Both of them believed in life. Nijinski believed that his body was god, and it was. Crazy Horse knew that god was in everything, and it was. They had a knowledge we all need to have."

"Nijinsky’s life can be simply summed up: ten years of growth, ten years of learning, ten years of dancing, thirty years of darkness. Altogether some sixty years. How long he will live on in people’s memories, we can only guess."

"People like eccentrics and they will therefore leave me alone, saying that I am a "mad clown.""

"The Diary of Vaslav Nijinjsky reaches a limit of sincerity beyond any of the documents that we have referred to on this study. There are other modern works that express the same sense that civilized life is a form of living death; notably the poetry of T. S. Eliot and the novels of Franz Kafka; but there is an element of prophetic denunciation in both, the attitude of healthy men rebuking their sick neighbors. We possess no other record of the Outsider's problems that was written by a man about to be defeated and permanently smashed by those problems."

"Hebetude. It is a graph of a theme that flings The dancer kneeling on nothing into the wings, And Nijinsky hadn't the words to make the laws For learning to loiter in air; he merely said, "I merely leap and pause.""

"New artistic impulses were coming to life all over Europe, and most of them had a definite relation with the art of the theatre in one or other of its numerous forms. The full history of these fresh developments, and of the resulting cleavage between the old ballet and the new, has yet to be written. Here we must be content to trace that cleavage in part to the influence of a new school of music which had risen to power within Russia itself, in part also to the more extraneous influences which came, via Moscow, from Prof. Reinhardt the German, and from Gordon Craig the Englishman. Nor must we forget the liberating force which sprang from the art of Isadora Duncan, whose heroic practice has done more than any precepts of philosophy to widen our ideas as to the intellectual and spiritual possibilities of the dance."

"I can remember seeing the movie for the first time at a revival house in L.A. and laughing with everyone else, and never imagining that I would be doing Max one day, even though by then I had already memorized the entire movie."

"I've seen most of Nathan's work, but it was seeing both 'Lisbon Traviata' and 'Laughter on the 23rd Floor' that I realized just what a superb physical comic he was."

"He is a theater animal who is ignited by his synergy with an audience. Audiences are only beginning to see the tip of the iceberg of what Nathan can do."

"When Nathan read aloud one of his lines, 'I'm a lying, despicable crook, but I have no choice. I am a Broadway producer,' they all howled. And then they started to throw money at the project. They all wanted to produce the show."

"A sitcom is the closest thing for me to doing stage because you work in front of an audience, and if it's well written it can be very satisfying."

"I guess there's some sort of unspoken show business rule, [speaks in British accent] 'You do the theater, and then you move into television, and then, of course, that is your steppingstone to film stardom.' I've done it every which way. I've done theater for many, many years and then had some success in films. I would do television sporadically. I thought this was a good time to try it."

"But in order for anyone to become successful, sometimes you have to be that driven and focused, and maybe there isn't a lot left over for personal relationships—although I certainly have had them. It's not as if I cut myself off, but it makes them very difficult. This profession is very hard on relationships."

"There's a freedom there and an understanding of my career and the things I've done. I'm seen here as primarily a comic actor, which is OK, but I can go to New York and I do something that's very emotional. It would be lovely at some point to do something like that on film."

"I had to develop a sense of humor I'm sure it's a defense mechanism. It was, 'Before they make fun of me, I'll make a joke.' Being funny is just a point of view about life in general. Sometimes it's born out of difficult childhoods, where you have to develop a sense of humor. Ultimately, it's a gift."

"I think of myself as an actor and not a movie star. I like doing movies; I enjoy it. But, essentially, I'm a theater actor. That's the only place I feel like I actually am a star. In the theater, I can put people in the seats and sell tickets."

"The more competition, the better. I hope to get snubbed again this year."

"I'll always go back to the stage."

"I was at a dinner party at Steve Martin's house not too long ago. Some very funny people were there - Steve, Marty Short, the whole gang. We sat around the table, like eight of us, and we laughed so hard that we were just sitting there laughing and crying. And I thought, 'This is great. This is what it's like when life is really good. Sitting around with people of that quality and that caliber, people being funny. Smart and funny.' It's great."

"My oldest brother used to take me to the theater. The first play he took me to see was 'Black Comedy,' then he took me to see 'Butley.' We'd see all these British plays. And 'Hello, Dolly,' with Pearl Bailey. I was unconsciously thinking, 'Gee, I would love to be able to do that.'"

"I think it really is all about technique, but it's where the intersection of acting and singing sort of meets. There has to be a musicality to the delivery of a line of dialogue that gives it impact. Somebody like Nathan Lane understands that. It's in his bones really. He can deliver a line five different ways, and each one has incredible impact and intonation and rhythm."

"There isn't anyone else like Nathan. He is able to express more in a look or a word than most actors I've ever worked with."

"Yes, I've been compared to Jackie Gleason often. I've been often compared to Lou Costello. … But after a while you start to go, 'Well, geez. Do I have a personality in there?' The funny thing about Gleason is, he always used to talk about watching Jack Oakie. And if you ever watch Jack Oakie in an old movie, it's very similar to Gleason. … I think we all steal from one another."

"Both social and biosocial factors are necessary to interpret crosscultural studies, with the general proviso that one's research interest determines which elements, in what combinations, are significant for the provision of understanding."

"The difficulty with our bisexual construct is that it locates the origin and meaning of preference too much inside the lone individual and not enough in the social surround. The notion of sexual preference, with its linking conception "sex object choice," requires an individual difference psychology of choice and free will that may correspond to the reality of philosophers, but seldom does for ordinary mortals. Our sexual development is driven and regulated by extraordinary forces, intrinsic and extrinisic, which include our genes, hormones, early parental relationships, peer pressures, cultural training for categories and language, and out-and-out social sanctions and physical force. We seldom are free to choose freely, but entertain the enchantment that we can."

"Social and cultural factors very broadly channel and limit sexual variation in human populations. Sexual laws, codes, and roles do restrict the range and intensity of sexual practices, as far as we can judge from the cross-cultural literature (Herdt and Stoller 1990). Kinsey lent his support to this view; Ford and Beach (1950) documented it in surveys; and Margaret Mead (1961) did so in her ethnographic studies. But biosocial, genetic, and hormonal predispositions also broadly limit and channel. Each culture's theory of the combination of these social and biological constraints we could call its theory of human sexual nature. Yet none of these broad principles, nor the local theory of human sexual nature, entirely explains or predicts a particular person's sexual desires or behaviors. A sexual behavior, that is, does not necessarily indicate an erotic orientation, preference, or desire. The homosexual is not the same as the homoerotic; whether in our society or one very exotic, I will claim, we can distinguish the homosexual from the homoerotic, as Oscar Wilde's case first hinted."

"The dilemma of traditional sex research lay in the unconscious, but unquestioningly assumed division into opposing drives and hereditary factors... The division into heterosexuality and homosexuality, into heterosexuals and homosexuals, is also an artifact that rests on a grave error, namely, on the assumption that a fundamentally different model is necessary to explain heterosexual and homosexual behavior. The entire investigation of etiology was ideologically loaded beforehand because it separated a segment of the sexual continuum and attempted to make analyses with the help of fundamentally different concepts."

"Are you gay? No? Then fuck off! This is my culture!"

"Did you cling to the things they sold you? Did you cover your eyes when they told you That he can't come back, 'cause he has no children To come back for"

"I guess somewhere along the way He must have let us all out to play Turned his back, and all God's children Crept out the back door"

"I've had enough of danger And people on the streets I'm looking out for angels Just trying to find some peace Now I think it's time That you let me know So if you love me Say you love me But if you don't just let me go..."

"This time I think that my lover Understands me If we have faith in each other Then we can be Strong, baby I will be your father figure Put your tiny hand in mine I will be your preacher teacher Anything you have in mind I will be your father figure I have had enough of crime I will be the one who loves you … Til the end of time."

"I have to be honest here, I'm not really interested in selling records to people who are homophobic. I don't need the approval of people who don't approve of me."

"I spent the first half of my career being accused of being gay when I hadn't had anything like a gay relationship. So I spent my years growing up being told what my sexuality was really— which was kind of confusing."

"Strange and predatory and truly dangerous, car thieves and muggers—they seem to jeopardize all our cherished concepts, even our self-esteem, our property rights, our powers of love, our laws and pleasures. The only relationship we seem to have with them is scorn or bewilderment, but they belong somewhere on the dark prairies of a country that is in the throes of self-discovery."

"I love Cheever's mellifluous sentence-making or his kind of snatching images out of the blue, out of nowhere, and his charmingly eccentric, just-right endings."

"I'm not like some writers who are very specific about their audience. Cheever talks about looking into the woods and he sees somebody walking there and he's writing for that person. My sense of an audience is very wide-maybe people in the distant future-in a sense, the universe."

"I'm very fond of Cheever."

"His religious requirements—that the service come from Cranmer’s rites in the old prayer book, that it take 33 minutes or less, that the church be within 10 minutes’ driving distance and that the altar be sufficiently simple so that it wouldn’t remind him of a gift shop—limited his choice of parishes."