Many of the left thinkers that really matter to me – that formed a big part of my thinking about politics and art – emphasize how capitalism is a totality, how there’s no escape from it, no outside.
BEN LERNERI remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing – a kind of night vision.
More Ben Lerner Quotes
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I don’t think “I’m going to publish this as fiction” but I think “I’m going to tell this story to a friend” and then I start telling the story in my mind as the experience transpires as a way of pretending it’s already happened.
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I’ve been building a fiction in part around the Marfa poem since my brief residency there, which has kept it from receding into the past.
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I remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing – a kind of night vision.
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Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.
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I don’t think it’s always a sign of respect for persons (inside or outside of fiction) to pretend to be able to represent, to have access to, their multi-dimensionality at every moment. That doesn’t imply people aren’t multi-dimensional.
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The problem is that if you’re self-conscious about being a person on whom nothing is lost, isn’t something lost – some kind of presence? You’re distracted by trying to be totally, perfectly impressionable.
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I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life’s white machine.
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Maybe now if you’re not an exhibitionist you’re private. Or maybe it’s just that for a lot of people – sometimes in interesting ways, sometimes in stupid ways – there’s no division between the art object and what surrounds it.
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My concern is how we live fictions, how fictions have real effects, become facts in that sense, and how our experience of the world changes depending on its arrangement into one narrative or another.
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I’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.
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I didn’t want to write another book about fraudulence.
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Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.
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Just in case God isn’t dead, our astronauts carry sidearms.
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I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature’s ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
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I like to think – knowing that it’s an enabling fiction – of those moments as fragments from a world to come, a world where price isn’t the only measure of value.
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