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.
BEN LERNERI 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.
More Ben Lerner Quotes
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I guess when I’m frightened or in pain or maybe very bored I’ve tried to hold myself together by imposing a narrative order on the experience as it happens.
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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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I remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing – a kind of night vision.
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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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The transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.
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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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When the narrator feels like an octopus, when he says his limbs are starting to multiply, he means he has inklings of orders of perception beyond his individual body.
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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 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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Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.
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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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Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.
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Maybe now if you’re not an exhibitionist you’re private. Or maybe it’s just that for a lot of people – sometimes in interesting ways, sometimes in stupid ways – there’s no division between the art object and what surrounds it.
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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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The scare quotes burn off like fog.
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