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.
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 didn’t want to write another book about fraudulence.
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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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Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.
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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.
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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 transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.
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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 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 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’m defending fiction as a human capacity more than as a popular or dying literary genre.
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I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature’s ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
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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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Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.
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Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.
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Are there are fireflies on the West Coast? I never saw any when I lived in California.
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