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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.

Ben Marcus

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Ben Marcus
Age: 57
Born: 1967
Born: October 11
Author
Novelist
Writer
Chicago
Illinois
Fear
Anything
Autobiographical
Come
Realise
Writing
Realising
Level
Emotional
Levels
Started

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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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It amazes me that parents are allowed to raise kids. There's so much power and often very little accountability.
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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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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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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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Fiction becomes a place where I face certain fears such as losing language or losing my children.
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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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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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Suspense left my life a long time ago, now it has returned. I do not care for it.
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Without sound, celebration and grief look nearly the same.
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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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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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I love the way dates in a text make us think that truth will follow.
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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 goal, with whatever I'm working on, is to lose track of time.
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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 like big doses of grief when I read: Richard Yates, Flannery O'Connor, Kenzabaro Oe, Thomas Bernhard.
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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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A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.
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My parents showed me by example that they could balance their work and family lives.
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