The problem is that if you’re self-conscious about being a person on whom nothing is lost, isn’t something lost – some kind of presence? You’re distracted by trying to be totally, perfectly impressionable.
BEN LERNERI 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.
More Ben Lerner Quotes
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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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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 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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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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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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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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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’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’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.
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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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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 was a violent, bipolar, compulsive liar. I was a real American.
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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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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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