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.
BEN LERNERI 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.
More Ben Lerner Quotes
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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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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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Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.
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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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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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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 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 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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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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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 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.
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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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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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The scare quotes burn off like fog.
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