These rejections hurt me terribly because I felt it was my life that was being rejected.
Originally, I was against gay marriage because I was opposed to all marriage, being an old-fashioned gay bohemian. The straight people I knew in the sixties were very much opposed to it. I was, too, and it was never a possibility for gays, but when I saw how opposed the Religious Right was to it, I thought it a fight worth fighting.
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.
In the middle of my sophomore year, I was sent to boarding school, at the Cranbrook School for boys, in Bloomfield Hills, Michigan, where I fell in love with Marilyn Monroe. I knew that she was the most beautiful woman in the world, and yet she was in pain, in need. She was unhappy. I believed that I could help her.
I think I'm very stoic. Death and dying are things that I'm used to.
A straight writer can write a gay novel and not worry about it, and a gay novelist can write about straight people.
The first version of The Beautiful Room Is Empty was the first mss. I'd ever submitted to New York editors.
I changed my writing style deliberately. My first two novels were written in a very self-consciously literary way. After I embraced gay subject matter, which was then new, I didn't want to stand in its way. I wanted to make the style as transparent as possible so I could get on with it and tell the story, which was inherently interesting.
