Spelling is a way to make words safe, at least for now, until another technology appears to soften attacks launched from the mouth.
BEN MARCUSWithout sound, celebration and grief look nearly the same.
More Ben Marcus Quotes
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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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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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My goal, with whatever I’m working on, is to lose track of time.
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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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I like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.
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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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I love the way dates in a text make us think that truth will follow.
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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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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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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.
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To 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.
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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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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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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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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.
BEN MARCUS