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.
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 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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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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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 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’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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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 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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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 was a violent, bipolar, compulsive liar. I was a real American.
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The scare quotes burn off like fog.
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The transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.
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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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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 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 have no interest in artists who are purely affirmative, who’ve made a commercialized fetish of the culture’s stupidity.
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