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

Ben Marcus

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Ben Marcus
Age: 57
Born: 1967
Born: October 11
Author
Novelist
Writer
Chicago
Illinois
Face
Faces
Language
Place
Certain
Fears
Children
Losing
Fiction
Becomes

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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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My first book, 'The Age of Wire and String,' came out in 1995, and it was hardly reviewed at all.
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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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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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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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Without sound, celebration and grief look nearly the same.
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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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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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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 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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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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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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My parents showed me by example that they could balance their work and family lives.
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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.
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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 like big doses of grief when I read: Richard Yates, Flannery O'Connor, Kenzabaro Oe, Thomas Bernhard.
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I love the way dates in a text make us think that truth will follow.
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My goal, with whatever I'm working on, is to lose track of time.
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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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