My goal, with whatever I’m working on, is to lose track of time.
BEN MARCUSRHETORIC 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.
More Ben Marcus Quotes
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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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A self needed to spill out sometimes, a body should show evidence of what the hell went on inside it.
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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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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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My first book, ‘The Age of Wire and String,’ came out in 1995, and it was hardly reviewed at all.
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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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Suspense left my life a long time ago, now it has returned. I do not care for it.
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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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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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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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Without sound, celebration and grief look nearly the same.
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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 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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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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Fiction is too complicated and too elusive to break down into a set of tricks.
BEN MARCUS







