Suspense left my life a long time ago, now it has returned. I do not care for it.
BEN MARCUSMostly we’re motivated to control ourselves in public. Mostly. At home the motivation is much less clear. At home there’s a bit of a lab for bad behavior.
More Ben Marcus Quotes
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Slamming the book shut produces a wind on the face, a weather that is copyrighted by the author, and this wind may not be deployed without permission, nor may the pages be turned without express written permission.
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It amazes me that parents are allowed to raise kids. There’s so much power and often very little accountability.
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My first book, ‘The Age of Wire and String,’ came out in 1995, and it was hardly reviewed at all.
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I work a lot in the summers. My family goes to Maine, where we have a little house. My wife’s a writer, too, and we can write for six hours a day and then play with the kids.
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It’s lonely to listen to the pleasure of others, not that I’ve made a habit of that kind of eavesdropping. There’s joy and passion in the next room, in the next bed, but it’s not yours.
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Mostly we’re motivated to control ourselves in public. Mostly. At home the motivation is much less clear. At home there’s a bit of a lab for bad behavior.
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I love the way dates in a text make us think that truth will follow.
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When I started writing at 18 or 19, I had a fear of anything autobiographical, but I’ve come to realise that my writing is very autobiographical at the emotional level.
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Sorry, I said to myself, wondering how many times in my marriage I’d said that, how many times I’d meant it, how many times Claire had actually believed it, and, most important, how many times the utterance had any impact whatsoever on our dispute. What a lovely chart one could draw of this word Sorry.
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My parents showed me by example that they could balance their work and family lives.
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I’m an enormous fan of Thomas Bernhard’s books, and I like the relentless feeling in his work – the pursuit of darkness, the negative – and I think in some sense I’ve internalised that as what one is supposed to do.
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The context of what can be known establishes that love and indifference are forms of language, but the wise addition of punctuation allows us to believe that there are other harms – the dash gives the reader the clear signal they are coming.
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I like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.
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A self needed to spill out sometimes, a body should show evidence of what the hell went on inside it.
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Judaism to me, as badly as I practiced it, what I’ve always loved about it was its total embrace of complexity, its admission of unknowability.
BEN MARCUS






