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 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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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 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’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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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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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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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 didn’t want to write another book about fraudulence.
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Just in case God isn’t dead, our astronauts carry sidearms.
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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 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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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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The scare quotes burn off like fog.
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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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