Ben Lerner Quotes

In art and life we're always reading bodies and behaviors (and skies and skylines or whatever), constructing brief and shifting coherences, and I guess I want to capture that process of characterization and re-characterization instead of offering up a few stable, easily-summarized individuals.

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.

I remember I had this recurring dream that we were playing a night game and instead of eye black we had mashed up the glowing bodies of fireflies and put that under our eyes. So our faces were glowing - a kind of night vision.

Art has to offer something other than stylized despair.

I'm defending fiction as a human capacity more than as a popular or dying literary genre.

I’ll work my way from irony to sincerity in the sinking city, a would-be Whitman of the vulnerable grid.

Shaving is a way to start the workday by ritually not cutting your throat when you've the chance.

The transpersonal is more awe-inspiring, more exciting than the thing we confuse it for.

If I was a poet, I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgment of my own preposterousness, admitting my bad faith in good faith, so to speak.

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.

I came to realize that far more important to me than any plot or conventional sense was the sheer directionality I felt while reading prose, the texture of time as it passed, life's white machine.

I have no interest in artists who are purely affirmative, who've made a commercialized fetish of the culture's stupidity.

Many of the left thinkers that really matter to me - that formed a big part of my thinking about politics and art - emphasize how capitalism is a totality, how there's no escape from it, no outside.

Experiments with the "as if" of fiction are often more lively in poetry and criticism and other modes of writing than in weak short stories or novels.

I think that sexual pleasure and the weird color of the sky after a storm or the stream of tail lights across the bridge or the way silence can thin or thicken before music starts - all these things have to be harnessed by the political. The libidinal has to be harnessed by the political.

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.

I usually see the word "metafiction" applied to works that draw attention to their own devices, their own artificiality, in order to mock novelistic convention and show the impossibility of capturing a reality external to the text or whatever.

I didn't want to write another book about fraudulence.

Are there are fireflies on the West Coast? I never saw any when I lived in California.

When I was a kid and we played baseball we used to use that "eye black" stuff sometimes - that kind of grease you put under your eyes to reduce glare or something. We only used it, of course, to look cool; it's not like we were any better prepubescent athletes for reducing glare.

Most of us start from that position of irony now and what I wanted to do - really felt like I had to do if I was going to write another novel - was move towards something like sincerity.

Every relationship can feel saturated by market logic or at best purchased at the price of the immiseration of others.

I'm increasingly on the side of thinkers like David Graeber who are talking back to this notion of totality and emphasizing how there are all kinds of moments in our daily lives that break - or at least could break - from the logic of profit and the modes of domination it entails. Zones of freedom, even if it's never pure.

I like to think - knowing that it's an enabling fiction - of those moments as fragments from a world to come, a world where price isn't the only measure of value.

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.

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.

Few real people appear in my two novels, actually. "Ari" appears on the edge of this book a couple of times - but on the edge, she's never in it, even if she's a determining force from the outside. Everybody in the first book was basically made up, if never from scratch.

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.

I'm trying to be somebody on whom the experience is lost by supplanting it with its telling. I definitely do that in medical contexts, even in trivial ones.

Henry James claim that if you want to be a novelist you should be somebody on whom nothing is lost.

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.

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.

The strange thing about the apocalypse is that it's uneven. For some people, it goes one way and for others another way, so that there's always this shifting relation to the narrative of the disaster. Sometimes apocalypses are just structural fictions, and sometimes they're real. Sometimes a narrative requires an end - the fact that the beginning was always leading somewhere becomes clear at the end. There's an idea that we're always in the middle, but we posit this apocalyptic end in order to also be able to project into the past or the beginning. I think that's true and false.

The scare quotes burn off like fog.

Just in case God isn't dead, our astronauts carry sidearms.

What interests me about fiction is, in part, its flickering edge between realism and where a tear in the fabric of a story lets in some other sort of light.

I don't want to write poems that are just really clear about how I'm aware of all the traps involved in writing poetry; I don't want to write fiction that's about the irresponsibility of writing fiction and I've thrown out a lot of writing that I think was ultimately tainted by that kind of self-awareness.

I guess when I'm frightened or in pain or maybe very bored I've tried to hold myself together by imposing a narrative order on the experience as it happens.

The problem is that if you're self-conscious about being a person on whom nothing is lost, isn't something lost - some kind of presence? You're distracted by trying to be totally, perfectly impressionable.

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.

I wasn't aware I'd write the novel when I wrote the New Yorker story either. And the narration of their construction in 10:04 is fiction, however flickering.

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.

I was a violent, bipolar, compulsive liar. I was a real American.

Laser technology has fulfilled our people's ancient dream of a blade so fine that the person it cuts remains standing and alive until he moves and cleaves. Until we move, none of us can be sure that we have not already been cut in half, or in many pieces, by a blade of light. It is safest to assume that our throats have already been slit, that the slightest alteration in our postures will cause the painless severance of our heads.

I'm aware of narrating certain experiences as they happen or obliterating those experiences with narrative and then those stories - not the experiences themselves - might become material for art. This kind of transformation shows up a lot in 10:04 because the book tracks the transposition of fact into fiction in the New Yorker stor

Your interviews or blog posts or whatever are less supplements to your novel than part of it. I'm not private, but I believe in literary form - I'll use my life as material for art (I don't know how not to do this) and I'll use art as a way of exploring that passage of life into art and vice versa, but that's not the same thing as thinking that any of the details of my life are interesting or relevant on their own.

Fiction doesn't appeal to me because it can describe physical appearances exhaustively or because it can offer access to the inner depths of an array of human characters - neither that kind of "realism" of bodily surfaces nor of individual psychologies seems particularly realistic to me.

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.

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.