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The art of the playwright is to create types so finely drawn that they are begging for actors to fill their insides. For years I said actors were people without selves in search of Selfs. But the truth is that actors are pure being, pure me’s looking for I’s (that is, types), which to express the passive flowing nature of their sensitivity. Which is why as I continue to write, my characters become more and more elaborated types (my successful characters like Munshin,{{LJ:Munshin}} Teppis,{{LJ:Teppis}} Lulu,{{LJ:Lulu}} and earlier Guinevere{{refn|Beverly Guinevere McLeod, wife of William McLeod, runs the Brooklyn boarding house that is the setting of ''[[Barbary Shore]]''. One of {{NM}}’s finest comic characters.}} and Hollingsworth){{LJ:Hollingsworth}} and I am drawn more and more to the theatre. But, also, I begin to act more and more. My inner sensitivity, my {{LJ:H}}, demands that I express much I cannot say by entering into others, others who we always see as types. I can imitate Adele{{LJ:Adele}} less and less, create her personality less and less in writing because she is not a type to me, she is a Being, and to create a Being in a book requires genius, whereas to create or limn a type requires merely talent. I have so far to go as a novelist. Yet, the pleasure of my books is that through my types one feels the beating of hearts, the being of hearts.

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[[Category:February 7, 1955]]

Lipton’s Journal/February 7, 1955/468 - Revision history

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