Ben Lerner > Quotes

“Art has to offer something other than stylized despair.”
― Ben Lerner, 10:04

“The chicken is a little dry and/or you've ruined my life.”
― Ben Lerner

“I tried hard to imagine my poems or any poems as machines that could make things happen, changing the government, or the economy or even their language, the body or its sensorium, but I could not imagine this, could not even imagine imagining it. And yet when I imagined the total victory of those other things over poetry, when I imagined, with a sinking feeling, a world without even the terrible excuses for poems that kept faith with the virtual possibilities of the medium, without the sort of absurd ritual I'd participated in that evening then I intuited an inestimable loss, a loss not of artworks but of art, and therefore infinite, the total triumph of the actual, and I realized that, in such a world, I would swallow a bottle of white pills.”
― Ben Lerner, Leaving the Atocha Station

“Shaving is a way to start the workday by ritually not cutting your throat when you’ve the chance.”
― Ben Lerner, 10:04

“I tended to find lines of poetry beautiful only when I encountered them quoted in prose, in the essays my professors had assigned in college, where the line breaks were replaced with slashes, so that what was communicated was less a particular poem than the echo of poetic possibility. Insofar as I was interested in the arts, I was interested in the disconnect between my experience of actual artworks and the claims made on their behalf; the closest I'd come to having a profound experience of art was probably the experience of this distance, a profound experience of the absence of profundity.”
― Ben Lerner, Leaving the Atocha Station

“I could imagine it in a way that felt like remembering”
― Ben Lerner, Leaving the Atocha Station

“Since the world is ending,” Peter quoted from behind us, “why not let the children touch the paintings?”
― Ben Lerner, 10:04

“I told the waiter I was looking for a hotel whose name I didn't know on a street whose name I didn't know and could he help me; we both laughed and he said: Aren't we all.”
― Ben Lerner, Leaving the Atocha Station

“How many out-of-character things did I need to do, I wondered, before the world rearranged itself around me?”
― Ben Lerner, 10:04

“I was a violent, bipolar, compulsive liar. I was a real American.”
― Ben Lerner, Leaving the Atocha Station

“You are the first and last indigenous Nintendo.”
― Ben Lerner

“because the cigarette or spliff was an indispensable technology, a substitute for speech in social situations, a way to occupy the mouth and hands when alone, a deep breathing technique that rendered exhalation material, a way to measure and/or pass the time. More important than the easily satisfiable addiction, what the little cylinders provided me was a prefabricated motivation and transition, a way to approach or depart from a group of people or a topic, enter or exit a room, conjoin or punctuate a sentence. The hardest part of quitting would be the loss of narrative function; it would be like removing telephones or newspapers from the movies of Hollywood’s Golden Age; there would be no possible link between scenes, no way to circulate information or close distance, and when I imagined quitting smoking, I imagined “settling down,” not because I associated quitting with a more mature self-care, but because I couldn’t imagine moving through an array of social spaces without the cigarette as bridge or exit strategy.”
― Ben Lerner, Leaving the Atocha Station

“I breathed in the night air that was or was not laced with anachronistic blossoms and felt the small thrill I always felt to a lesser or greater degree when I looked at Manhattan’s skyline and the innumerable illuminated windows and the liquid sapphire and ruby of traffic on the FDR Drive and the present absence of the towers.”
― Ben Lerner, 10:04

“I will begin to remember our walk in the third person, as if I’d seen it from the Manhattan Bridge, but, at the time of writing, as I lean against the chain-link fence intended to stop jumpers, I am looking back at the totaled city in the second person plural. I know it’s hard to understand / I am with you, and I know how it is.  ”
― Ben Lerner, 10:04

“Why reproduce if you believe the world is ending?

Because the world is always ending for each of us and if one begins to withdraw from the possibilities of experience, then no one would take any of the risks involved with love.”
― Ben Lerner, 10:04

“The opposite of a truth," Klaus quoted, "is a falsehood; but the opposite of a profound truth...may be another profound truth." [Niels Bohr]”
― Ben Lerner, The Topeka School

“Laser technology has fulfilled our people's ancient dream of a blade so fine that the person it cuts remains standing and alive until he moves and cleaves. Until we move, none of us can be sure that we have not already been cut in half, or in many pieces, by a blade of light. It is safest to assume that our throats have already been slit, that the slightest alteration in our postures will cause the painless severance of our heads.”
― Ben Lerner

“Happy were the ages when the starry sky was the map of all possible paths, ages of such perfect social integration that no drug was required to link the hero to the whole.”
― Ben Lerner, Leaving the Atocha Station

“...that part of what I loved about poetry was how the distinction between fiction and nonfiction didn't obtain, how the correspondence between text and world was less important than the intensities of the poem itself, what possibilities of feeling were opened up in the present tense of reading.”
― Ben Lerner, 10:04

“I turned off the projector and Alex mumbled something in her sleep and turned over. I said, "Everything is fine, I'm going home now," and said it just so I could say I'd said it in case she was upset later that I'd left without telling her. I thought about kissing her on the forehead but rejected the idea immediately; whatever physical intimacy had opened up between us had dissolved with the storm; even that relatively avuncular gesture would be strange for both of us now. More than that: it was as though the physical intimacy with Alex, just like the sociability with strangers or the aura around objects, wasn't just over, but retrospectively erased. Because those moments had been enabled by a future that had never arrived, they could not be remembered from this future that, at and as the present, had obtained; they'd faded from the photograph.”
― Ben Lerner, 10:04

“The future doesn’t belong to the fainthearted; it belongs to the brave.”
― Ben Lerner, 10:04

“I promise to pass through a series of worlds with you,” I remembered from her vows.”
― Ben Lerner, 10:04

“Nothing is a cliche when you’re living it.”
― Ben Lerner, The Topeka School

“If I was a poet, I had become one because poetry, more intensely than any other practice, could not evade its anachronism and marginality and so constituted a kind of acknowledgment of my own preposterousness, admitting my bad faith in good faith, so to speak.”
― Ben Lerner, Leaving the Atocha Station

“I believe she imbued my body thus, finding every touch enhanced by ambiguity of intention, as if it too required translation, and so each touch branched out, became a variety of touches.”
― Ben Lerner, Leaving the Atocha Station

“Poetry arises from the desire to get beyond the finite and the historical—the human world of violence and difference—and to reach the transcendent or divine. You're moved to write a poem, you feel called upon to sing, because of that transcendent impulse. But as soon as you move from that impulse to the actual poem, the song of the infinite is compromised by the finitude of its terms.”
― Ben Lerner, The Hatred of Poetry

“And if we never slept together or otherwise 'realized' our relationship, I would leave Spain with this gorgeous possibility intact, and in my memory could always ponder the relationship I might have had in the flattering light of the subjunctive.”
― Ben Lerner, Leaving the Atocha Station

“Mad Lib Elegy"

There are starving children left on your plate.
There are injuries without brains.
Migrant workers spend 23 hours a day
removing tiny seeds from mixtures
they cannot afford to smoke
and cannot afford not to smoke.
Entire nations are ignorant of the basic facts
of hair removal and therefore resent
our efforts to depilate unsightly problem areas.
Imprisonment increases life expectancy.
Finish your children. Adopt an injury.
‘I'm going to my car. When I get back,
I'm shooting everybody.'
[line omitted in memory of_______]


70% of pound animals will be euthanized.
94% of pound animals would be euthanized
if given the choice. The mind may be trained
to relieve itself on paper. A pill
for your safety, a pill for her pleasure.
Neighbors are bothered by loud laughter
but not by loud weeping.
Massively multiplayer zombie-infection web-games
are all the rage among lifers.
The world is a rare case of selective asymmetry.
The capitol is redolent of burnt monk.
‘I'm going to my car. When I get back
I'm shooting everybody.'
[line omitted in memory of _______]


There are two kinds of people in the world:
those that condemn parking lots as monstrosities,
‘the ruines of a broken World,' and those
that respond to their majesty emotionally.
70% of the planet is covered in parking lots.
94% of a man's body is parking lot.
Particles of parking lot have been discovered
in the permanent shadows of the moon.
There is terror in sublimity.
If Americans experience sublimity
the terrorists have won.
‘I'm going to my car. When I get back
I'm shooting everybody.'
[line omitted in memory of _______]”
― Ben Lerner

“Y si nunca nos acostábamos ni "desarrollábamos" nuestra relación, me iría de España con esa preciosa posibilidad intacta, y en el recuerdo siempre podría reflexionar sobre la relación que podría haber mantenido a la favorecedora luz del subjuntivo.”
― Ben Lerner, Leaving the Atocha Station

“But my research had taught me that the tissue of contradictions that was my personality was itself, at best, a poem, where “poem” is understood as referring to a failure of language to be equal to the possibilities it figures; only then could my fraudulence be a project and not merely a pathology; only then could my distance from myself be redescribed as critical, aesthetic, as opposed to a side effect of what experts might call my substance problem, felicitous phrase, the origins of which lay not in my desire to evade reality, but in my desire to have a chemical excuse for reality’s unavailability.”
― Ben Lerner, Leaving the Atocha Station