Ben Marcus Quotes

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.

Spelling is a way to make words safe, at least for now, until another technology appears to soften attacks launched from the mouth.

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.

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.

I'm attracted to how fraught the parent-child relationship is, swerving so easily between love and hostility, with almost no plausible way to end, unless someone dies.

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.

A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.

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.

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.

I like big doses of grief when I read: Richard Yates, Flannery O'Connor, Kenzabaro Oe, Thomas Bernhard.

Fiction is too complicated and too elusive to break down into a set of tricks.

Teaching is all armchair. I learn about writing by writing and thinking about what I've written and throwing it away.

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.

My parents showed me by example that they could balance their work and family lives.

I'm interested in the hope we invest in science, and the disappointment we can feel when science flattens, or 'explains,' the larger mysteries of religion.

My goal, with whatever I'm working on, is to lose track of time.

I don't like real places, but I don't like imagined ones either. I feel like I'm looking for some mixture and it's very hard for me to say because I like to use real place names because there's an uncanny feeling to them, but at the same time I don't ever really try to make them plausible. Sometimes I like to use them as a way to hide in plain sight a little bit, because to me a very exotic or imagined setting has a lot of weight and a lot of burden to it, and it doesn't suit me, but a real place seems to have its own weird legacy, so I don't know what the choice is?

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.

My first book, 'The Age of Wire and String,' came out in 1995, and it was hardly reviewed at all.

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. You can test things out without terrible consequences. Or maybe the consequences are there, but they are deferred, buried, much harder to detect.

People are considered as areas that resist light, mistakes in the air, collision sweet spots. At the time of this writing, the whole world is a crime scene: People eat space with their bodies; they are rain decayers; the wind is slaughtered when they move. A retaliation is probably coming. Should a person cease to move, she would cease to kill the sky, and the world might begin to recover.

Eventually you stop paying attention to your own feelings when there's nothing to be done about them.

I work, and then I leave the office, and I'm with my kids and just sort of enjoy them on a visceral level, and I don't feel like I'm exorcising my own deep ideas about parenthood and about how my life will come into play in my work.

I always, at least back then, struggled with emotion in writing. I felt like I could do odd, unusual things, but there wouldn't be enough feeling in them, and maybe if there's a progression at all to anything that I've done it's that I've always wanted to have a high - an almost overwhelming - degree of feeling in what I write.

Fiction becomes a place where I face certain fears such as losing language or losing my children.

With students, one is often in the position where you have to be authoritative about what they're doing and connected to some principle. I prefer not really knowing the answer to anything interesting and I try to encourage that in teaching. If I start to feel certain about something my curiosity goes away, my mind shuts down. I'm sure that's not always true, it's stupid to generalise.

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.

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.

Suspense left my life a long time ago, now it has returned. I do not care for it.

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.

It amazes me that parents are allowed to raise kids. There's so much power and often very little accountability.

A self needed to spill out sometimes, a body should show evidence of what the hell went on inside it.

Family seems so rich and complicated to me. There's meant to be this unfailing biological loyalty and yet at the same time it's this theatre for various kinds of cruelty. I know it doesn't always work out that way, but the worst possible behaviour is sort of allowed for. It looks to me like an endlessly rich container for really terrible drama, but also pretty grand love. It accommodates such a variety of feeling in such a natural way, and it feels so relatable, and yet it's such a funny construct, socially, the family.

Among other things, autoimmune disorders are an induction into a world of unstable information and no reliable expertise.

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.

I love the way dates in a text make us think that truth will follow.

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.

Without sound, celebration and grief look nearly the same.

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.

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. 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.