I’m defending fiction as a human capacity more than as a popular or dying literary genre.
BEN LERNERI 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.
More Ben Lerner Quotes
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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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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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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 have no interest in artists who are purely affirmative, who’ve made a commercialized fetish of the culture’s stupidity.
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I was a violent, bipolar, compulsive liar. I was a real American.
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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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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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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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Just in case God isn’t dead, our astronauts carry sidearms.
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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 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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Experiments with the “as if” of fiction are often more lively in poetry and criticism and other modes of writing than in weak short stories or novels.
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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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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’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.
BEN LERNER







