RHETORIC The art of making life less believable; the calculated use of language, not to alarm but to do full harm to our busy minds and properly dispose our listeners to a pain they have never dreamed of.
BEN MARCUSI’m attracted to how fraught the parent-child relationship is, swerving so easily between love and hostility, with almost no plausible way to end, unless someone dies.
More Ben Marcus Quotes
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In some sense, prose fiction is just a way of unlocking a space. If I can unlock the space, it comes out and it’s vivid, I find that I care about it, and it’s part of me.
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My parents showed me by example that they could balance their work and family lives.
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My goal, with whatever I’m working on, is to lose track of time.
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Slamming the book shut produces a wind on the face, a weather that is copyrighted by the author, and this wind may not be deployed without permission, nor may the pages be turned without express written permission.
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Teaching is all armchair. I learn about writing by writing and thinking about what I’ve written and throwing it away.
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Mostly we’re motivated to control ourselves in public. Mostly. At home the motivation is much less clear. At home there’s a bit of a lab for bad behavior.
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I work, and then I leave the office, and I’m with my kids and just sort of enjoy them on a visceral level, and I don’t feel like I’m exorcising my own deep ideas about parenthood and about how my life will come into play in my work.
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The common, the quotidian, is so much more unyielding to me, really stubborn and hard to work with, and I like this because it makes me think and it makes me worry. I can’t just plunge my hand into the meat of it. I need new approaches.
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Being with him was like being alone underwater – everything was slow; nothing counted; I could not be harmed; I would feel dry and cold when I resurfaced.
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Spelling is a way to make words safe, at least for now, until another technology appears to soften attacks launched from the mouth.
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I work a lot in the summers. My family goes to Maine, where we have a little house. My wife’s a writer, too, and we can write for six hours a day and then play with the kids.
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My first book, ‘The Age of Wire and String,’ came out in 1995, and it was hardly reviewed at all.
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Rain is used as white noise when God is disgusted by too much prayer, when the sky is stuffed to bursting with the noise of what people need.
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Eventually you stop paying attention to your own feelings when there’s nothing to be done about them.
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It amazes me that parents are allowed to raise kids. There’s so much power and often very little accountability.
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In certain strains of Judaism, there’s a profound passion for the ineffable. Contemplation of God is meant to be forever elusive, because, you know, our tiny minds can’t possibly comprehend Him. If we find ourselves comprehending Him, then we can be sure we’re off track.
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Suspense left my life a long time ago, now it has returned. I do not care for it.
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I like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.
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I’m attracted to how fraught the parent-child relationship is, swerving so easily between love and hostility, with almost no plausible way to end, unless someone dies.
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It’s lonely to listen to the pleasure of others, not that I’ve made a habit of that kind of eavesdropping. There’s joy and passion in the next room, in the next bed, but it’s not yours.
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Fiction is too complicated and too elusive to break down into a set of tricks.
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I love the way dates in a text make us think that truth will follow.
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The context of what can be known establishes that love and indifference are forms of language, but the wise addition of punctuation allows us to believe that there are other harms – the dash gives the reader the clear signal they are coming.
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You can test things out without terrible consequences. Or maybe the consequences are there, but they are deferred, buried, much harder to detect.
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A self needed to spill out sometimes, a body should show evidence of what the hell went on inside it.
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When I started writing at 18 or 19, I had a fear of anything autobiographical, but I’ve come to realise that my writing is very autobiographical at the emotional level.
BEN MARCUS