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

Ben Marcus

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Ben Marcus
Age: 57
Born: 1967
Born: October 11
Author
Novelist
Writer
Chicago
Illinois
Suspense
Returned
Left
Care
Long
Time
Life

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Fiction becomes a place where I face certain fears such as losing language or losing my children.
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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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Among other things, autoimmune disorders are an induction into a world of unstable information and no reliable expertise.
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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.
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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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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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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.
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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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My goal, with whatever I'm working on, is to lose track of time.
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My first book, 'The Age of Wire and String,' came out in 1995, and it was hardly reviewed at all.
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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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It amazes me that parents are allowed to raise kids. There's so much power and often very little accountability.
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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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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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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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A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.
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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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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.
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I love the way dates in a text make us think that truth will follow.
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Without sound, celebration and grief look nearly the same.
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