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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.

Ben Lerner

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.
BEN LERNER

Fiction Mind Thinking
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 LERNER

Ideas Powerful Thinking
I don’t think it’s always a sign of respect for persons (inside or outside of fiction) to pretend to be able to represent, to have access to, their multi-dimensionality at every moment. That doesn’t imply people aren’t multi-dimensional.
BEN LERNER

Fiction People Thinking
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.
BEN LERNER

Mean Octopus Order
The transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.
BEN LERNER

Awe Exciting Inspiring
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.
BEN LERNER

Cutting Feelings Fog
Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.
BEN LERNER

Lost Novelist Want
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.
BEN LERNER

Character Privacy Way
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.
BEN LERNER

Fiction Real World
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.
BEN LERNER

Art People Stupid
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.
BEN LERNER

Building Fiction Past
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 LERNER

Contemporary Fiction Literature Thinking
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.
BEN LERNER

Contemporary Fiction Historical Past
I didn’t want to write another book about fraudulence.
BEN LERNER

Book Want Writing
I was a violent, bipolar, compulsive liar. I was a real American.
BEN LERNER

Bipolar Liars Real
Art has to offer something other than stylized despair.
BEN LERNER

Art Despair Offers

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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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.

Related Topics

Popular Authors

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