The scare quotes burn off like fog.
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 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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Are there are fireflies on the West Coast? I never saw any when I lived in California.
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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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The story and the poem are obviously changed by being placed in the novel, so in a sense they’re no longer the works that preceded the novel.
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If I was a poet, I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgment of my own preposterousness, admitting my bad faith in good faith, so to speak.
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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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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 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 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 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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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 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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Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.
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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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