The knot of intimacy at the center of 'Ten Thousand Saints' is the friendship between Teddy McNicholas and Jude Keffy-Horn.

One of the many pleasures of 'Versailles' is the way in which it seems to emanate not only from the vexed inner being of Marie Antoinette but from the interstices between what we imagine of her and what she was.

That feeling of being part of a group moving together is very powerful. It feels like it opens up a zone of possibility, a place for another self to form, also a place for a new world to form.

The much-lauded visual artist Roni Horn got her Master's in Sculpture from Yale in the Seventies, but in the course of her career she has moved, among other media, from watercolors to photographs to floor-sized installations and mats of poured gold.

In each medium - popular music, literature, and visual art, respectively - the woman has broken form, shed a skin, with each phase of her career, whereas the man has returned to ever-deepening iterations of the sound or sentence or imagery with which he began.

In my darker moments, I feel like the Queen of England, bound and gagged by reverence. Tin-crowned and irrelevant.

Royalty mostly seem like members of some anachronistic faith, like the Amish, peculiar in gilded buggies.

You can conclude from the glossy surfaces of 'The L Word' that L stands for latte or Lexus and stop there. Or you can notice that in some of its less flashy moments, the show has staked a claim on Large - as in a larger, denser, more ambivalent imaginary world, populated by imperfect and riveting citizens of all sexual stripes.

A lot of first novels are coming-of-age stories. A lot are autobiographical.

I don't go online when I'm writing - that's the devil's workshop - but in general, I'm on there as much as any other global citizen.

You can get anything online, including things that don't even exist. We've invented our own collective unconscious. The normal rules of time and space don't apply. It's held together by some other force than gravity. It's endless. It's like some unimaginably huge, messy novel that's writing itself both with and without us.

Writers and musicians are very similar in that the chances of making a life in either field are so infinitesimal. And once you're in, the chances of staying viable are difficult. But there is something incredibly different about performing in front of a live audience, as opposed to sitting at your desk typing.

I write things in my house, and hopefully there's a reader out there who enjoys it and has an experience with it, but that's very different than a performer on stage, where there's an immediate dance with the audience. It's incredibly powerful.

A performer needs and craves a live audience.

The songs in 'Wonderland' don't have a melodic life for me - I'm not a musical person - but they have an emotional life, an emotional echo perhaps.

One of the first times that I went into a book store and saw a bunch of my books, my impulse was to put them all under my coat and run away so that no one else could see them, even though, of course, I wanted everyone to see them.

I was influenced by big, strong voices - writers like Elizabeth Bowen, Virginia Woolf, Jane Bowles; gay writers like Ed White, Michael Cunningham, Allen Hollinghurst; and contemporary lesbian writers, like Dorothy Allison.

Historians of European royalty have written of the king's 'two bodies' : one mortal and corrupt; the other divine, abstract and timeless.

The ambition of 'Ten Thousand Saints,' Eleanor Henderson's debut novel about a group of unambitious lost souls, is beautiful. In nearly 400 pages, Henderson does not hold back once: she writes the hell out of every moment, every scene, every perspective, every fleeting impression, every impulse and desire and bit of emotional detritus.

What interests me are the complexities and contradictions and struggles and joys of messy human beings.

For the Supreme Court, the right for everyone to say 'I do' is where the story ends, but for artists, it's where the story just starts to get interesting.

One of the things I've always loved about queer culture is the openness and passionate curiosity about love, desire and the myriad forms of affectionate ties.

I'm a huge fan of San Francisco. And I was out here for a couple years in the mid-'90s when I was a Wallace Stegner Fellow at Stanford.

The railroads needed standardized time; as a result, the technology of train travel shaped the way everyone gets up, eats, goes to sleep, calculates age, and, perhaps of no small importance, imagine the world as a whole, ticking reliably, with reliable deviations, according to the beat of one central clock in a physical location.

There are more clocks than ever - clocks on computers, on cell phones, on televisions, on any screen available, telling time to the digital second - but they all seem to matter less.

If we are indeed nostalgic for the weight of clock time, it is worth remembering that the standardized time that most of us know has only been around since the mid-nineteenth century. It was invented for the railroads.

There is no such thing as a natural fit between form and content. Seamless elegance would be tantamount to erasure.

Music is quicksilver, gossamer; careers are measured in butterfly lifetimes.

In my family, we were on again off again Unitarians, partly because my father, raised Roman Catholic, had had enough of church.

Fiction, at its best, is a radical act of intimacy. It seeks to join, to merge, to know deeply; and, as with intimacy, there is a way in which it cannot be faked.

As readers, we sense when the game is being played for real and when something else is afoot: pride, showmanship, the pursuit of power, self-aggrandizement, revenge, making money. Not that there's anything wrong with any of that, but I dislike closing a book with the sense that I've been had.