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.
BEN MARCUSBeing 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.
More Ben Marcus Quotes
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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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My parents showed me by example that they could balance their work and family lives.
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Judaism to me, as badly as I practiced it, what I’ve always loved about it was its total embrace of complexity, its admission of unknowability.
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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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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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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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A self needed to spill out sometimes, a body should show evidence of what the hell went on inside it.
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My goal, with whatever I’m working on, is to lose track of time.
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A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.
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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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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 like big doses of grief when I read: Richard Yates, Flannery O’Connor, Kenzabaro Oe, Thomas Bernhard.
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Without sound, celebration and grief look nearly the same.
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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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