I work, and then I leave the office, and I’m with my kids and just sort of enjoy them on a visceral level, and I don’t feel like I’m exorcising my own deep ideas about parenthood and about how my life will come into play in my work.
BEN MARCUSI 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.
More Ben Marcus Quotes
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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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A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.
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I’m attracted to how fraught the parent-child relationship is, swerving so easily between love and hostility, with almost no plausible way to end, unless someone dies.
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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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Suspense left my life a long time ago, now it has returned. I do not care for it.
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Teaching is all armchair. I learn about writing by writing and thinking about what I’ve written and throwing it away.
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The common, the quotidian, is so much more unyielding to me, really stubborn and hard to work with, and I like this because it makes me think and it makes me worry. I can’t just plunge my hand into the meat of it. I need new approaches.
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I’m interested in the hope we invest in science, and the disappointment we can feel when science flattens, or ‘explains,’ the larger mysteries of religion.
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In some sense, prose fiction is just a way of unlocking a space. If I can unlock the space, it comes out and it’s vivid, I find that I care about it, and it’s part of me.
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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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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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To refrain from storytelling is perhaps one of the highest forms of respect we can pay. Those people, with no stories to circle them, can die without being misunderstood.
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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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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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Rain is used as white noise when God is disgusted by too much prayer, when the sky is stuffed to bursting with the noise of what people need.
BEN MARCUS