When I was growing up, I kept hoping that I wasn't really gay because I wanted to have children. I went through a long, tortured period, so the fact that I have been able to be true to myself and have a family has been the nicest surprise of my adulthood.

Writing 'The Noonday Demon' turned me into a professional depressive, which is a weird thing to be. A class at the university I attended assigns the book and invited me to be a guest lecturer.

We think that fear must be played out in fight, with military intervention, or in flight, via isolationism - but we are not hunted game, and those are not the only options. There is also the possibility of acceptance, with its corollary of understanding and its ultimate manifestation in embracing.

Forging meaning is about changing yourself. Building identity is about changing the world.

I was angry about the fact that my father would beat my mother on a daily basis, that my mother would take it in turn and beat on me. I was an abused child. I was mad about all those things, very bitter and very angry.

As any parent knows, part of your mind is always engaged - wondering and worrying that everything is okay and calculating all the stuff that has to get done in the course of a day. When the children are asleep in their beds, I can go where I really need to go in my head.

I love 'Threepenny Opera'; I was exposed to it as a little kid because my parents, my mom and my dad, had bonded, when they were dating, over 'Threepenny Opera' and introduced it to me, a child, who could barely understand it. But I immediately gravitated even from that early age.

I wanted to be on my own and get out of the house. We were the kind of kids that - we - obeyed our parents. If they said no, you don't ask why.