Ben Lerner Quotes
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The chicken is a little dry and/or you've ruined my life.
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Of course, if we’ve learned anything, it’s how dangerous that fragile masculinity can be.
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There were the usual exhortations to purity – think of the novel not as your opportunity to get rich or famous but to wrestle, in your own way, with the titans of the form – exhortations poets don’t have to make, given the economic marginality of the art, an economic marginality that soon all literature will share.
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It was worse than having a sinking feeling; I was a sinking feeling, an unplayable adagio for strings; internal distances expanded and collapsed when I breathed.
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I have no interest in artists who are purely affirmative, who've made a commercialized fetish of the culture's stupidity.
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And finally, an intern pushing the metal show box: see the cow, the purple of the hide barely perceptible, blood seeping from the small holes punched by a .22, ears tagged with plastic. Shitting itself, despite the tranquilizers, out of terror at being nearly real.
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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.
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On various occasions I’d said to a woman I was interested in, “I would invite you to dinner, but I can’t cook,” at which point I would hope she’d say, “I’m a great cook,” so I could ask her to come over and teach me; then we’d get drunk in the kitchen while I displayed what I hoped was my endearing clumsiness, never learning anything.
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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.
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It was like how, when he read a poem to himself, the rhymes were neither sound nor silence. Unheard melodies in the mind’s ear. The muted music of consciousness.
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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.
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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.
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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.
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Poetry: What kind of art assumes the dislike of its audience and what kind of artist aligns herself with that dislike, even encourages it? An art hated from without and within.
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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.
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How much easier it would be if when you played them slowly in reverse the lyrics really did, as some hysterical parents feared, reveal satanic messages; if there were a backmasked secret order, however dark, instead of rage at emptiness.
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I formed several possible stories out of her speech, formed them at once, so it was less like I failed to understand than that I understood in chords, understood in a plurality of worlds.
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Our contempt for any particular poem must be perfect, be total, because only a ruthless reading that allows us to measure the gap between the actual and the virtual will enable to to experience, if not a genuine poem—no such thing—a place for the genuine, whatever that might mean.
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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.
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But the burns were like the fingerprints of an older time—before Ziegler and his brethren decided that traditional sources of value were merely superstition. “Those thousands of generations of technical progress” obliterated ritual, emptied out all meaning, glossolalia without divinity. I decided that’s what the painted mother foresaw, that she was saying farewell to candlelight, that she knew she was trapped inside a painting addressed to the future, where it could only be, however great, an instance of technique.
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I could imagine it in a way that felt like remembering.
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I think I’d felt that as long as I avoided looking for the tickets, they would be there; it was only if I searched the archive that they’d disappear, as if the past were up until that point indeterminate, that I might outrun it. Do you know what I mean? We had to pay a lot of money to get the tickets for the next day; luckily they still had seats, although I suppose there are usually seats to and from Kansas City. It was kind of like that, recovering the memory of what my father had done. The knowledge was always there, I carried it in my body, but I didn’t know what I knew, although I knew I knew something and that I dreaded knowing it fully, dreaded it as if only coming into the knowledge, into the memory, would make the event that I was repressing real.
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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.
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So much of the most important personal news I'd received in the last several years had come to me by smartphone while I was abroad in the city that I could plot on a map, could represent spatially the events, such as they were, of my early thirties. Place a thumbtack on the wall or drop a flag on Google Maps at Lincoln Center, where, beside the fountain, I took a call from Jon informing me that, for whatever complex of reasons, a friend had shot himself; mark the Noguchi Museum in Long Island City, where I read the message ("Apologies for the mass e-mail...") a close cousin sent out describing the dire condition of her newborn; waiting in line at the post office on Atlantic, the adhan issuing from the adjacent mosque, I received your wedding announcement and was shocked to be shocked, crushed, and started a frightening multi week descent, worse for being so embarrassingly cliched; while in the bathroom at the SoHo Crate and Barrel--the finest semipublic restroom in lower Manhattan--I learned I'd been awarded a grant that would take me overseas for a summer, and so came to associate the corner of Broadway and Houston with all that transpired in Morocco; at Zucotti Park I heard my then-girlfriend was not--as she'd been convinced--pregnant; while buying discounted dress socks at the Century 21 department store across from Ground Zero, I was informed by text that a friend in Oakland had been hospitalized after the police had broken his ribs. And so on: each of these experiences of reception remained, as it were, in situ, so that whenever I returned to a zone where significant news had been received, I discovered that the news and an echo of its attendant affect still awaited me like a curtain of beads.