In Edmund White's first novel, Forgetting Elena (1973), the narrator reflects that ordinary conversation is so constrained by mores and manners that little is expressed. The narrator of The Beautiful Room Is Empty (1988) describes the novel as a conversation in which one person—the writer—does all the talking. White suggests that whatever a writer's ostensible theme, the ulterior and more basic theme is always the nature of one's own experiences; and the ways those experiences might be shaped into an artistic vision reveal something about the human condition. The protagonist-narrator of the The Farewell Symphony (1997) notes that the old ambition of fiction is to communicate the most private, complex things in the most compellingly public way. He also observes that the writer is involved in an ongoing conversation with other writers in the tradition. In his novels and short stories, Edmund White converses with readers about love, sex, death, friendship, art, and power, among other themes. But his predominant theme is always the self's quest for an integrated identity in a world that is volatile, ambiguous, and difficult. Thus, Gabriel in Caracole (1985) comes to see that sexual desire is a cross one must bear; Austin Smith in The Married Man (2000) discovers the pains of love in the era of AIDS. These and others among White's characters are made to reflect on the mysterious depths of their own selfhood by the ecstatic or traumatic experiences they undergo. Indeed, White most often uses the dramatis personae of the child and the lover because he believes (as he states in The Farewell Symphony) that love and childhood are states wherein the self is intensely aware of its own uncanny existence.Less
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