Art has to offer something other than stylized despair.
BEN LERNERMaybe 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.
More Ben Lerner Quotes
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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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Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.
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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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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 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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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’m defending fiction as a human capacity more than as a popular or dying literary genre.
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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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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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Are there are fireflies on the West Coast? I never saw any when I lived in California.
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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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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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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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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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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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