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At the risk of sounding pretentious, or boring, or convoluted (or all 3), here goes ...

Why I write:

The act of writing gives me a sense of belonging, of being. As one might expect, being a writer, I have a lot to say, but, more than that, there is a lot that I want to know. You know? I have an insatiable thirst to learn all that I can. And in this (albeit) ambitious quest to learn everything and to try to understand everyone, writing allows me to ask the really tough, scary questions-those questions that I would not normally have the courage (or dare I say?-the confidence) to ask face-to-face. I am using my writing to investigate our collective past, present, & future. Not even the sordid secrets submerged somewhere in the labyrinthine layers of my psyche are off-limits from these literary ruminations and explorations.

Like Pandora, I so badly want to open that damn box.

And then ... I want to provoke. I want to inspire. I want my writing to stand as a testament of Truth, Beauty, and all that is right with the world, but I also want my writing to push for healing in all that is Unjust, misguided, and just plain wrong in this sometimes-crazy and chaotic world. If my words can give comfort and inspiration to those who have been pushed aside, cast off, and silenced, then I have served my purpose. If my words can provoke change and mend people and places broken by the onslaught of destruction, degradation, and despair that we all too often accept as an evitable part of life, then, yet again, I have served my purpose.

I believe that theatre is worth most when it is used to seek an ongoing connection with the communities that surround it. The best theatre to me is that which exists in a symbiotic relationship with the world at-large-both theatre and the world feeding and nourishing each other. And, in order to keep it from being only for the so-called culturally elite, it is also crucial for theatre to reflect the diversity of society. I believe in theatre that embraces multi-cultural, multi-ethnic, and multi-faceted audiences-a theatre that truly embraces diversity by allowing people of all lifestyles, all hues and all creeds (and all incomes), to be who we really are, in our own aesthetic, on our own terms, and not merely imitations of someone else's idea of the norm. 

My writing is characterized by imaginative uses of language to investigate urban identities, and explore the intersections/interactions between race, class, gender, and sexual orientation through historical and contemporary lenses.

More specifically, I want to, if you will, historicize the queer, queer the historic, and to remember those who have been left in the margins of in that Book of (Human) Life.