Ben Marcus > Quotes

“Without sound, celebration and grief look nearly the same.”
― Ben Marcus, The Flame Alphabet

“The true elitists in the literary world are the ones who have become annoyed by literary ambition in any form, who have converted the very meaning of ambition so totally that it now registers as an act of disdain, a hostility to the poor common reader, who should never be asked to do anything that might lead to a pulled muscle. (What a relief to be told there's no need to bother with a book that might seem thorny, or abstract, or unusual.) The elitists are the ones who become angry when it is suggested to them that a book with low sales might actually deserve a prize (...) and readers were assured that the low sales figures for some of the titles could only mean that the books had failed our culture's single meaningful literary test.”
― Ben Marcus

“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.”
― Ben Marcus, The Flame Alphabet

“Spelling is a way to make words safe, at least for now, until another technology appears to soften attacks launched from the mouth.”
― Ben Marcus, Notable American Women

“Eventually you stop paying attention to your own feelings when there's nothing to be done about them.”
― Ben Marcus, The Flame Alphabet

“Oh, don’t worry, I am perfectly aware of the fantasy involved here, but what we want is almost never exempt from the impossible. That barrier has very little meaning for me these days. Given what’s happened, the impossible is just a blind spot that dissolves if we move our heads fast enough. History seems to show that the impossible is probably the most likely thing of all.”
― Ben Marcus, The Flame Alphabet

“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.”
― Ben Marcus

“Verbalize someone's actions back to them. Menace them with language, the language mirror. Death by feedback.”
― Ben Marcus, The Flame Alphabet

“Maybe this was the quiet before the real fucking quiet.”
― Ben Marcus, The Flame Alphabet

“How did one even fraternize with people who could not entertain vivid scenarios of self-mutilation? How was the sexual act even possible if one's partner could not entertain being crushed under a truck, just as a cathartic exercise? What important piece of her brain was missing that deprived her of such, well, deeply necessary acts of physical editing?”
― Ben Marcus

“A short story works to remind us that if we are not sometimes baffled and amazed and undone by the world around us, rendered speechless and stunned, perhaps we are not paying close enough attention.”
― Ben Marcus

“A misspelled word is probably an alias for some desperate call for aid, which is bound to fail.”
― Ben Marcus, Notable American Women

“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.”
― Ben Marcus, The Flame Alphabet

“Machineries of reason, machineries of conduct, machineries of virtue. The machine that regulates instinct, keeps one’s hands free of another man’s throat, free of one’s own. These machines have all, as someone said, gone too long in the elements. Gummed now, rusted, bloodless.
I forget who said it and I no longer care.”
― Ben Marcus, The Flame Alphabet

“Suspense left my life a long time ago, now it has returned. I do not care for it.”
― Ben Marcus, The Flame Alphabet

“Anyone who believes that you can make art from language is part of a small, nearly-vanishing community, and we should all form a wedge and march on the enemy. Do we need different uniforms in this struggle, different stripes on our arms so that it's clear who the realists are? Maybe, but I care less and less.”
― Ben Marcus

“What treaty is it that finally separates those two territories, the hard resolve of our exteriors and the terrible disaster on our insides?”
― Ben Marcus, The Flame Alphabet

“It would seem that, through touch, through kissing, we might have gouged a worm-size channel through which crucial information could pass, sublingual messages, the kind of pre-verbal intimacy that should flow with thunderous force between the bodies of people so bonded. We should have been able to bypass a mere inability to exchange language.”
― Ben Marcus, The Flame Alphabet

“Terms


BEN MARCUS, THE 1. False map, scroll, caul, or parchment. It is comprised of the first skin. In ancient times, it hung from a pole, where wind and birds inscribed its surface. Every year, it was lowered and the engravings and dents that the wind had introduced were studied. It can be large, although often it is tiny and illegible. Members wring it dry. It is a fitful chart in darkness. When properly decoded (an act in which the rule of opposite perception applies), it indicates only that we should destroy it and look elsewhere for instruction. In four, a chaplain donned the Ben Marcus and drowned in Green River. 2. The garment that is too heavy to allow movement. These cloths are designed as prison structures for bodies, dogs, persons, members. 3. Figure from which the antiperson is derived; or, simply, the antiperson. It must refer uselessly and endlessly and always to weather, food, birds, or cloth, and is produced of an even ratio of skin and hair, with declension of the latter in proportion to expansion of the former. It has been represented in other figures such as Malcolm and Laramie, although aspects of it have been co-opted for uses in John. Other members claim to inhabit its form and are refused entry to the house. The victuals of the antiperson derive from itself, explaining why it is often represented as a partial or incomplete body or system--meaning it is often missing things: a knee, the mouth, shoes, a heart”
― Ben Marcus, The Age of Wire and String

“It was so easy to agree to what did not test us.”
― Ben Marcus

“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.”
― Ben Marcus, Notable American Women

“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.”
― Ben Marcus, Notable American Women

“The simple answer is that I have changed my techniques in order to avoid the relentless sameness of my material, but I have probably only found new costumes, not new creatures entirely. In the past, if I wanted to sound a note on a piano (in prose), I didn’t just have to purchase and install the piano, I had to build it. But before I built it I had to grow the trees whose wood would yield the piano, and probably I had to create the soil and landscape through which those trees would burst. Then there was the problem of the fucking seeds. Where did they come from? I had to source them. With such mania I was either onto something or I completely misunderstood what a fiction writer was supposed to do. Simple things, even entirely undramatic ones, could not occur unless I created them from whole cloth. I was superstitious about taking anything for granted, but it also locked me into a kind of fanatical object fondling that could, on a bad day, preclude any exploration of the human (even though the process of trying to remake the world on the page is fairly, pathetically, human). This set of interests kept me away from what is usually called narrative. It wasn’t some ideological position, or an artistic stance, it was just one set of obsessions winning out over another. On the other hand, I think that I have always tried to create feeling, and then to pulse it into the reader with language. It’s very difficult to figure out how to do this. Storytelling is one way — conventional narrative or whatever you want to call it — but are there other methods worth exploring? The ground shifts, and I change my mind about what might work. How to create immense, unforgettable feeling from language? This ambition hasn’t really changed, it’s just that I want to cultivate new approaches, to try to circle in on a more vivid way to accomplish it.”
― Ben Marcus

“I recalled a sermon Burke had delivered months ago, when everything from the Jew hole was still safely abstract, wisdom I could enjoy in the unactionable pit of my mind. They will sniff at your legs, went Burke’s sermon. They will wish they were you. Beware the man on his knees, the display of weakness. But the sermon had not passed through the radio coherently that day; static cloaked the transmission. Every other word was weakness, as if the broadcast were looping by mistake. We were to fear weakness not in oneself, where it should be cherished, but in others. Or not fear it, but mistrust it. We too easily believe in the trouble of others, erect a machinery of caring. Look through the story at the teller’s need, was the caution. Share not your full story, went the warning.”
― Ben Marcus, The Flame Alphabet

“My intention had not been to find her, for I had been busy being lonely with someone else.”
― Ben Marcus, Leaving the Sea: Stories

“Sometimes I worry, for myself, that I’ve stopped being amazed at certain things, or I’ve taken for granted a set of ideas about how the world works, what people are doing with each other or alone, all the fundamental relationships in the world. I worry that I start taking it for granted and stop feeling the intensity of it because of language. Language starts to shut down the strength and power and strangeness of what it means to be a person in the world.”
― Ben Marcus

“The Living: Those members, persons, and items that still appear to engage their hands into what is hot, what is rubbery, what cannot be seen or lifted”
― Ben Marcus

“The task of being right is a task the father perfects over time.”
― Ben Marcus, Notable American Women

“If the words of this book are misspelled, but accidentally spell other words correctly, and also accidentally fall into a grammatically coherent arrangement, where coherency is defined as whatever doesn't upset people, it means this book is legally another book, and not this book.”
― Ben Marcus, Notable American Women

“Together we were something less, which felt like such a relief, to not be ourselves for a while.”
― Ben Marcus, Notable American Women