Why is this all so hard? Why do these old men need it so hard? — Margaret Cho

"I slept with a woman on the ship, and afterwards I was thinking, "Am I gaaaay? Am I straaaaight?" And then I realized: Im just slutty. Wheres my parade?"

"I would be happy to have a gay child. He would be a Boy Scout, and he would teach all the other Boy Scouts how to build a fire with two sticks and a back-handed compliment."

"Why do Republicans hate gay marriage so much? They certainly dont hate gay prostitutes."

"I cant even look at those "womens magazines" anyway. I love fashion, but I look at the pictures of the skinny models, and theyre wearing clothes I cant even fit on my fingers. And I look at that and I think, if that is what a woman is supposed to look like, then I must not be one."

"I was working on this movie and the makeup artist was just so ugly! I just wanted to say "Physician, heal thyself!" She looked exactly like Aaron Neville, and she was trying her hardest to make me look exactly like Aaron Neville. This one time, she leaned into my face with the mascara wand almost touching my eye and she says, "Whass my name?"

"There was this really prim and proper British woman who used to run horse races for the lesbians on the ship, and the lesbians would get to name the horses, and the really prim and proper British woman would have to read out the names. "Horse number one, Galloping...Clitoris. Horse number one, Galloping Clitoris. Very well, carry on. Horse number two...No Dick for Me. Horse number two, No Dick for Me. Rather a rude name, dont you think? No Dick for Me? Should be, No Dick for Me, Thank You."

"I, too, believed it was impossible to change the existing society into one that would be for the benefit of all; neither could I espouse any given ideal for society. But [...] I felt that even if one did not have an ideal vision of society, one could have one’s work to do. Whether it was successful or not was not our concern; it was enough that we believed it to be a valid work. The accomplishment of that work, I believed, was what our real life was about. Yes. I want to carry out a work of my own; for I feel that by so doing our lives are rooted in the here and now, not in some far-off ideal goal."

"Nobody should start to undertake a large project. You start with a small _trivial_ project, and you should never expect it to get large. If you do, youll just overdesign and generally think it is more important than it likely is at that stage. Or worse, you might be scared away by the sheer size of the work you envision. So start small, and think about the details. Dont think about some big picture and fancy design. If it doesnt solve some fairly immediate need, its almost certainly over-designed. And dont expect people to jump in and help you. Thats not how these things work. You need to get something half-way _useful_ first, and then others will say "hey, that _almost_ works for me", and theyll get involved in the project."

"If something seems possible, thats probably because someone is already doing it. When something seems that it cant possibly work, nobody tries it. Real innovation happens when someone tries anyway, overlooking an obvious flaw, and finds a way to make an idea work."

"Without getting complicated let me recapitulate my art training in the following way: the Academy first, the break with the Academy when I hit the Hofmann School which is Cubist. The next real break follows when I see Pollock’s work [1940-41] and once more another transition occurs.. .It was a force [Pollock’s work], a living force, the same sort of thing I responded to in Matisse, in Picasso, in Mondrian. Once more, I was hit that hard with what I saw... I began feeling the need to break with what I was doing and to approach something else."

"Well I think it [a Little Image painting] does suggest hieroglyphics of some sort. It is a preoccupation of mine from way back and every once in a while it comes into my work again. For instance in my 1968 show at the Marlborough I have a painting called Kufic, an ancient form of Arabic writing. Every once in a while I fall back to what I call my mysterious writings. I haven no idea what this is about but it runs through periods of my work."

"Action in its essence, the creative art of a writer of fiction may be compared to rescue work carried out in darkness against cross gusts of wind swaying the action of a great multitude. It is rescue work, this snatching of vanishing phases of turbulence, disguised in fair words, out of the native obscurity into a light where the struggling forms may be seen, seized upon, endowed with the only possible form of permanence in this world of relative values — the permanence of memory."