Christopher Rice quotes:

I think there are profound differences between the civil rights struggle for African Americans and the civil rights struggle for gay Americans.

Make a beautiful mess and clean it up later.

Everyday is a bank account, and time is our currency. No one is rich, no one is poor, we've got 24 hours each.

My experience of coming out was very much centered around the bar scene. And what happened for me is that when I turned 18 and was old enough to get into certain gay bars in the French Quarter, I became a regular customer.

If you're doing something, if you're following something that is directly at odds with who you are, you've got to slow down and ask yourself why you're following that dream.

I encourage young people to refrain from putting themselves in dangerous situations in the name of validating themselves sexually.

I think we need to always mimic reality in our fiction. I think that we can stir things up and reveal a truth beneath the surface in that way as well.

Honestly, in retrospect, I would wish for future generations to have the ability to have a coming out process that was less alcohol-soaked than mine was.

I do believe in the Kinsey scale, I think many of us fall in different places on the scale and I think it's for each one of us to decide where we are on the scale, it's not for someone else to decide for us.

I made the decision that, to be happy and to be content, I needed to live the life of an exclusive homosexual. I don't mean an elitist homosexual, but I mean someone who is exclusively pursuing partners of the same gender.

I think what has been the ultimate challenge for me is being willing to be honest with myself about what works for me in terms of relationships and sexual relations. In that sense, I was pretty traditional and pretty buttoned down.

It never occurred to me to write anything that didn't include gay characters in it.

Look at any city through the right memories and it could become a graveyard as haunted as a former battlefield.

This is not an international thriller so much as a fiercely literate attempt to subvert the thriller genre itself.

I don't want to judge anyone's sex life - but I worry that those are the only options we are giving to our young people.

I think the gay community, as a whole, is slighted by high-profile figures who remain in the closet. But I think that a lot of times we need to ask ourselves what that person's role in our community would be if they were out of the closet.

I think dragging someone out of the closet who isn't necessarily engaged in anti-gay activities can have a destructive effect on them and on us. I don't want unwilling gay people advocating on my behalf; I think that's a challenge.

What's become more important to me over time is to not try to sell myself as someone that I'm not, and that begins with coming out of the closet and gradually it's a challenge to expand that into other areas of my life.

I am comfortable calling myself a writer of suspense, or a writer of thrillers; both terms are sort of interchangeable to me. I think that came from a sense of being at conflict with my true nature throughout my youth, and being afraid of discovery, and feeling as if I didn't belong.

I think that I am profoundly influenced by writers who have explored loss, and longing, and fear. Those influences have turned me into a thriller writer, essentially.

The sort of public sex aspects of gay male sexuality did not appeal to me. And it wasn't just a matter of being afraid of them or being too nervous to try them. I did try them and they didn't work for me, they didn't feed me spiritually, they didn't leave me gratified.

I think for gay people to see gay people living honestly about everything they do is really a contribution.

If you aren't following your bliss, there is a discrepancy in your psychology that needs to be healed, it needs to be mended.

I think that the most important reason to come out is your own sanity; that's above everything else. I think that applies whether you're a public figure or not. The closet is a terrible place to be for the person who's in it.

I am one of those people, and I may be personally biased, who wishes that I had some place to come out of the closet besides a bar.

Usually when I put my focus on the pacing, the plot, the specific characterizations, - it's ironic - but then I actually increase my chances of writing something that moves people because I haven't become too self-conscious of the goal.

Ultimately, I felt fortunate, because in many ways I did identify with aspects of being gay that were very stereotypical. I was a big theatre kid in high school, I was creative, I was very emotionally sensitive, even hypersensitive. I loved female divas.

I think outsiders sometimes produce the best fictional perspectives on reality because they're set apart from it, so they have a unique view from the border.

I'm not a literary writer who is wedded to notions of realism and fiction. I believe that you can write anything if you can feel it convincingly.

I had seen the gay social chronicle done abundantly and done very well. And I didn't want to do any more of that myself, I wanted us to be included in the popular mainstream of entertainment fiction.

The good thing about New Orleans is that, overall, it's an accepting place. It's accepting of eccentricity, it's accepting of excess, it's accepting of color, in the sense of culture, not necessarily in the sense of race.