By Tim Miller

This article brings jointly the non-public, communal, and nationwide political strands that interweave in the course of the author's paintings from its beginnings and defines his position as a latest artist, activist, and homosexual guy.

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Additional resources for 1001 Beds: Performances, Essays, and Travels (Living Out: Gay and Lesbian Autobiog)

Sample text

We just want to be in the same time zone! This sometimes overwhelming international dilemma has tapped me back into a kind of faith I had as a tortured gay teenager, that if I wrote about the hard stuff in my life, it just might make the situation better. During the rigors of individuating as a gay boy in hatefilled America, I had somehow begun to believe that the act of writing about life might be a way to find the potential to transform it. If the truth be told, I think I have never stopped believing this.

As AIDS did in works of the 1980s and early 1990s, the immigration issue became the starting point for major performances: Glory Box (1999) and Us (2003). The latter forms the centerpiece of this concluding section of 1001 Beds. It is accompanied by an interview with John Gentile, which in discussing the composition and structure of Us provides Miller’s most extended account of his working methods. ” which celebrates the Supreme Court decision and introduces Miller’s love of American musical theater that is central to Us.

We had a great time. He’s Jewish. My Dad kept making him bacon and saying it’s kosher. We went on a double date with my parents and went out to dinner and saw a movie and had a lot of fun. I taught my Mom to play video games. I was very happy. We parted in the parking lot and my parents hugged us and said see you tomorrow. They got in their car and we got in ours. And my Mom and Dad honked as they drove off into the night, the promised land. I was in Colorado last summer doing some stuff and I decided to go and see my great aunt who lived nearby.

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