Growing up in New York City, I'd flirted with the idea of driving, but between the subway and the sidewalks, I'd never needed to learn.

There were not a lot of women in the theater department - it was really run by men, and so the message was that women can be onstage, but women can't really be backstage.

I would like there to be gender equity. I would like the Broadway season to reflect sort of the demographic of the country.

In many ways, I consider those to be my formative years, because when you're in school, you have a distant relationship to the world in that most of what you're learning is from books and lectures. But at Amnesty, I came face to face with realities in a very direct and harsh way.

I write my books in my head, and not in a specific study with a view. The view is from my inner eyes.

I can tell you about the education programs, because that's where I lived and worked.

My father paid for my education; then he made it clear that I was on my own.

I'd aspired to give people a profound education - to teach them something substantial. But the data was at odds with this idea.