He literally said that, at a reading I attended. After telling us about the power of stories and humanity, he veered into that as a total non-sequitur.
But it's not like he's a painter; he tells stories of empathy, of understanding, of togetherness, of bridging chasms of understanding. He came up with the Hierarchy of Foreignness - he wrote stories of people emphasizing with insect hives, of aliens that have nothing in common with us, of people who suffer for others with no reward.
And yet, he can simultaneously see the other side of the Necker cube where two men kissing is somehow going to bring down America.
It's just... uncanny.
I just don't understand how a man who wrote a book with such a thorough understanding of empathy can display so little of it in life.
Surely a great many people who have accomplished amazing things are also deeply flawed (even reprehensible) humans.
That said, and while I like _Ender's Game_ a great deal and think it's an excellent book, I did find an analysis once about how fundamentally it's about how fear and violence are the only appropriate actions when faced with the unknown; Ender may be sorry for what he did afterwards... but that's afterwards. Unfortunately there are so many half-baked essays about the book online I've been unable to find this again.
Do go and read Haldeman's _The Forever War_ as a counter to it, though. (It's also an excellent book.)
Have you read the sequels? The Speaker for the Dead branch of the sequels; Ender goes on to do more than just feel sorry for the Formics, and other intelligences that humanity discovers. Arguably, he more than makes amends for the mistakes he and the rest of humanity make.
That's silly of him. Even if you're a fan of family-values theory, he's got cause-and-effect backwards here. Widespread acceptance of gay marriage is simply the ultimate realization in these times of the sexual revolution that firmly took hold in the nation in the 1960s; if something is "destroying civilization", it's that larger cultural shift.
There's that allegory on the Book of Mormon - the pure allegory, the Homecoming one, meh, might be worth scrutinizing the last bits when they actually get to their little promised land and there's fractious conflict? Betting no one really reads that stuff outside of Utah, though - I certainly can't believe I bothered. (It was a slow summer that year and my standards may have been low.) Anyway, moving on... I skipped most of the horror except for the Sleeping Beauty novel...
Oh! There's also the Songmaster stuff in which - in 1980! - had a homosexual main character who (while ultimately a tragic character) was treated with such human dignity and respect that Card had to fend off scathing criticism from his own church (and others') for doing so.
Orson Scott Card is like Atticus Finch and we're all reading Go Set A Watchman. If all we can find for either of these characters today is hate and loathing and calls to pirate books, what kind of a future are we really setting ourselves up for?
This actually supports my hunch that Card has been pressured to make a public pronouncement of homophobic values, since the messages in the Ender series are largely subversive and pacifistic.
I'm not too familiar with the Book of Mormon, so any detail you care to share about the allegory would be appreciated.
That's the Homecoming series plot (complete with the voice of a guardian spirit / computer system that only a chosen few hear), the (extended) Ender's Game endgame, the Alvin Maker endgame, the Wyrms endgame, and you can see deep dark shadows of it in Pastwatch and Treason, among others. Oh, and you can see clearly that the unfinished series that Lovelock is going that way to boot.
It's not a bad tale, but the variety's a trifle lacking.