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" "Imprisoned under all our layers of long underwear, thick socks, shirts, vests, jackets, coats and hoods were these tropical bodies; the steam and hot water brought color back into the pallor, found the nacreous hollow in a hip, detected the subtly raised triceps, rinsed a sharp clavicle in a softening flood, swirled dull brown hair into a smooth black cap and pulled evening gloves of light over raw hands and skinny, blue-veined forearms.<p>Just as each shell held to the ears roars with a different ocean timbre, each of these bodies spoke to me with a different music, though all sounded to me unlike my own and only with the greatest effort could I remember I was longing after my own sex. Indeed, each of these beings seemed to possess his very own sex.
Edmund White (born January 13, 1940) is 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 Sex (1977) (written with Charles Silverstein) and his trio of autobiographic novels, A Boy's Own Story (1982), The Beautiful Room Is Empty (1988) and The Farewell Symphony (1997).
Biography information from Wikiquote
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All my life I’ve made friends and lost lovers and talked about these two activities as though they were very different, opposed; but in truth love is the direct and therefore hopeless method of calling Orpheus back, whereas friendship is the equally hopeless because irrelevant attempt to find warmth in other shades. Odd that in the story Orpheus is lonely, too.
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Biography can be the most middle-class of all forms, the judgment of little people avenging themselves on the great. One English critic took me to task for not saying that Genet was "afraid of intimacy" all his life because he'd been abandoned by his mother at the age of seven months. All the evidence needed to make such an interpretation is in my book, but I don't myself draw the vulgar conclusion. Since most literary biographies ignore the work except for potted plot summaries, they strip the biographee of everything redeeming and leave his or her subject to this spiteful revenge, this half-baked Freudian-Christian-bourgeois moralizing.