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 MARCUSRain 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.
More Ben Marcus Quotes
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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’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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I like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.
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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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Being 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.
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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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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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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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My goal, with whatever I’m working on, is to lose track of time.
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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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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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My first book, ‘The Age of Wire and String,’ came out in 1995, and it was hardly reviewed at all.
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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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To me one of the amazing technologies of writing is the way it can listen in on thoughts. I don’t feel that that’s natural to other art forms in the same way.
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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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Eventually you stop paying attention to your own feelings when there’s nothing to be done about them.
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Spelling is a way to make words safe, at least for now, until another technology appears to soften attacks launched from the mouth.
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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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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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My parents showed me by example that they could balance their work and family lives.
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Without sound, celebration and grief look nearly the same.
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Fiction is too complicated and too elusive to break down into a set of tricks.
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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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Among other things, autoimmune disorders are an induction into a world of unstable information and no reliable expertise.
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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 love the way dates in a text make us think that truth will follow.
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