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.
BEN MARCUSTo refrain from storytelling is perhaps one of the highest forms of respect we can pay. Those people, with no stories to circle them, can die without being misunderstood.
More Ben Marcus Quotes
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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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Fiction is too complicated and too elusive to break down into a set of tricks.
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To me one of the amazing technologies of writing is the way it can listen in on thoughts. I don’t feel that that’s natural to other art forms in the same way.
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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.
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Sorry, I said to myself, wondering how many times in my marriage I’d said that, how many times I’d meant it, how many times Claire had actually believed it, and, most important, how many times the utterance had any impact whatsoever on our dispute. What a lovely chart one could draw of this word Sorry.
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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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I like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.
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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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My parents showed me by example that they could balance their work and family lives.
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I’m an enormous fan of Thomas Bernhard’s books, and I like the relentless feeling in his work – the pursuit of darkness, the negative – and I think in some sense I’ve internalised that as what one is supposed to do.
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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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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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Suspense left my life a long time ago, now it has returned. I do not care for it.
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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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My goal, with whatever I’m working on, is to lose track of time.
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