I usually see the word “metafiction” applied to works that draw attention to their own devices, their own artificiality, in order to mock novelistic convention and show the impossibility of capturing a reality external to the text or whatever.
BEN LERNERI 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.
More Ben Lerner Quotes
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I didn’t want to write another book about fraudulence.
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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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Most of us start from that position of irony now and what I wanted to do – really felt like I had to do if I was going to write another novel – was move towards something like sincerity.
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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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Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.
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Few real people appear in my two novels, actually. “Ari” appears on the edge of this book a couple of times – but on the edge, she’s never in it, even if she’s a determining force from the outside. Everybody in the first book was basically made up, if never from scratch.
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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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Maybe that’s the way I’m private – I respect the privacy of “my” characters? Anyway, we’re getting close to the whole “relatability” and “likability” thing.
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Maggie Nelson cuts through our culture’s prefabricated structures of thought and feeling with an intelligence whose ferocity is ultimately in the service of love. No piety is safe, no orthodoxy, no easy irony. The scare quotes burn off like fog.
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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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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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If I was a poet, I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgment of my own preposterousness, admitting my bad faith in good faith, so to speak.
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Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass “conceptualism” that repeats vanguard gestures of the past minus the politics and historical context.
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I think the parable is a peculiar way of saying that redemption is immanent whether or not it’s imminent, that the world to come is in a sense always already here, if still unavailable. I find this idea powerful for several reasons. For one thing, it’s an antidote to despair.
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