Are there are fireflies on the West Coast? I never saw any when I lived in California.
BEN LERNERI wasn’t aware I’d write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.
More Ben Lerner Quotes
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I like to think – knowing that it’s an enabling fiction – of those moments as fragments from a world to come, a world where price isn’t the only measure of value.
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I was a violent, bipolar, compulsive liar. I was a real American.
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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’m defending fiction as a human capacity more than as a popular or dying literary genre.
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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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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 didn’t want to write another book about fraudulence.
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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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I don’t think it’s always a sign of respect for persons (inside or outside of fiction) to pretend to be able to represent, to have access to, their multi-dimensionality at every moment. That doesn’t imply people aren’t multi-dimensional.
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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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I’m trying to be somebody on whom the experience is lost by supplanting it with its telling. I definitely do that in medical contexts, even in trivial ones.
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What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.
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Many of the left thinkers that really matter to me – that formed a big part of my thinking about politics and art – emphasize how capitalism is a totality, how there’s no escape from it, no outside.
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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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I have no interest in artists who are purely affirmative, who’ve made a commercialized fetish of the culture’s stupidity.
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