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.
BEN MARCUSBeing with him was like being alone underwater – everything was slow; nothing counted; I could not be harmed; I would feel dry and cold when I resurfaced.
More Ben Marcus Quotes
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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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In certain strains of Judaism, there’s a profound passion for the ineffable. Contemplation of God is meant to be forever elusive, because, you know, our tiny minds can’t possibly comprehend Him. If we find ourselves comprehending Him, then we can be sure we’re off track.
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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.
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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.
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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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RHETORIC The art of making life less believable; the calculated use of language, not to alarm but to do full harm to our busy minds and properly dispose our listeners to a pain they have never dreamed of.
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Fiction is too complicated and too elusive to break down into a set of tricks.
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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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Eventually you stop paying attention to your own feelings when there’s nothing to be done about them.
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Without sound, celebration and grief look nearly the same.
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You can test things out without terrible consequences. Or maybe the consequences are there, but they are deferred, buried, much harder to detect.
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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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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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My goal, with whatever I’m working on, is to lose track of time.
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A self needed to spill out sometimes, a body should show evidence of what the hell went on inside it.
BEN MARCUS