Fan Mail #4: Ben Marcus
Dear Ben Marcus,
I just finished The Flame Alphabet. I woke up early on a Sunday morning to finish reading. And it was magnificent. I have read your books, or several of them at least. I read Age of Wire & String and Notable American Women the summer before starting grad school. They are audacious books, the syntax unlike anything I’d read before – call me a limited reader, of course, I’ve since read a lot more and come to understand its lineage – I wanted to emulate your style, your language, the way you created complex narrative by parataxis. I thought you were a fearless writer, and back then, I was young and afraid, although I didn’t show it in workshop, I wanted to be liked, as we all do when we’re young and insecure, but you, you were brazen, your writing was full of effrontery, and that’s what I wanted most in my writing. In short, you were an inspiration, maybe the biggest and most influential to me as a student.
Reynard Seifert—
“When he was nineteen, writing La Doublure . . . Roussel felt a literal brilliance running all throughout his person, his writing implements, and his room. The light was so dazzling he had to draw the curtains, afraid that anyone who saw him would be blinded by the rays streaming out of his face.” — Ben Marcus
16
A ham is proud of cocoanut.
A CLOTH.
Enough cloth is plenty and more, more is almost enough for that and besides if there is no more spreading is there plenty of room for it. Any occasion shows the best way.
….
A TIME TO EAT.
A pleasant simple habitual and tyrannical and authorised and educated and resumed and articulate separation. This is not tardy.
….
APPLE.
Apple plum, carpet steak, seed clam, colored wine, calm seen, cold cream, best shake, potato, potato and no no gold work with pet, a green seen is called bake and change sweet is bready, a little piece a little piece please.
A little piece please. Cane again to the presupposed and ready eucalyptus tree, count out sherry and ripe plates and little corners of a kind of ham. This is use.
[from Tender Buttons by Gertrude Stein]
Fantasies of Trauma and the Experiment of Coherency
The Flame Alphabet
by Ben Marcus
Knopf, Jan 2012
304 pages / $26 Buy from Amazon
Ben Marcus wrote this book, which is to say he either typed it into a computer or used a stylus, pen or pencil to scratch pigment into a page or roll of paper—the tools available to us humans at our particular anchor in time.* He did this in roughly a year, after developing the concept: a man—through his own somewhat distorted lens on reality—relates his recent experiences in a world wherein language, spoken and written, is discovered to harm its producers and recipients. I will try not to ruin it for you, but the inhabitants of this world eventually determine that the formation of meaning itself—the moment of insight, in which the gestalt of the lexeme coalesces in the mind of the listener/reader—is the problem; i.e. when you understand a word, you become sick: and more words, more understanding makes you sicker.
13 Comments
August 29th, 2011 / 12:00 pm
August 29th, 2011 / 12:00 pm
“Intercourse with Resuscitated Wife” by Ben Marcus
I read Notable American Women before I read The Age of Wire and String, so despite my being somewhat familiar with Marcus and his interviews and his writing, I still wasn’t quite prepared for the kind of ‘language monsters’ he had packed into those 140 pages when I opened the book for the first time in the summer of 2006.
And although the book begins with a sort of prologue, or ‘argument,’ which describes the book as a ‘life project’ meant to catalogue the age of wire and string, I will always think of the opening sentence of “Intercourse with Resuscitated Wife” as the warning shot, a language bunch that reoriented my understanding of how a parcel of words might be arranged in unusual ways.
The dropped articles, the potential comma splice, the archaic tone, the oddity described by the text, all of these I might have seen before, but never in such a sustained and tightly controlled way as this, and not in a contemporary landscape. And furthermore, I hadn’t yet become aware of many of the precursors who made such a collection possible. So to read this first sentence was a bit shocking for me, but in a good way, and helped me take greater care in my reading and writing from then on.
Intercourse with resuscitated wife for particular number of days, superstitious act designed to insure a safe operation of household machinery.
I Can’t Really Help It: A Conversation with Ben Marcus
The following conversation between Colin Winnette (colinwinnette.com) and Ben Marcus (benmarcus.com) took place during the brutally mediocre winter of 2011. Both men carved a desk along with extra elbowroom into the walls of their unnecessary ice huts and began a steady email exchange. This was a final attempt to stay warmish. Listed below are the contents of that attempt. Special Thanks to Cassandra Troyan -The Eds.
Ben Marcus is the author of three books of fiction: Notable American Women, The Father Costume, and The Age of Wire and String. His new novel, The Flame Alphabet, will be published by Knopf in January of 2012. His stories, essays, and reviews have appeared in Harper’s, The Paris Review, The Believer, The New York Times, Salon, McSweeney’s, Time, Conjunctions, Nerve, Black Clock, Grand Street, Cabinet, Parkett, The Village Voice, Poetry, and BOMB. He is the editor of The Anchor Book of New American Short Stories, and for several years he was the fiction editor of Fence. He has recently served as the guest fiction editor for Guernica Magazine. He is a 2009 recipient of a grant for Innovative Literature from the Creative Capital Foundation. In 2008 he received the Morton Dauwen Zabel Award from the American Academy of Arts and Letters, and he has also received a Whiting Writers Award, a National Endowment for the Arts Fellowship in fiction, three Pushcart Prizes, and a fiction fellowship from the Howard Foundation of Brown University, where he taught for several years before joining the faculty at Columbia University’s School of the Arts.
*Portions of this interview first appeared in the Winter 2011 issue of the Tex Gallery Review
CW:Could you talk a little about your upcoming book, The Flame Alphabet? Its genesis and where things went from there?
BM: I’d been thinking for years about language as a toxic substance. Language itself making people sick. Speech and text, all of it poisonous. If you read a road sign you get nauseous. That was the original idea, but after Notable American Women I really didn’t want to write another heavily-conceptual, modular book. With that book, every new chapter felt like I was starting over. I wanted to write something continuous, a straight shot powered by one voice. I tried a lot of voices, forms, and approaches, and threw all of it away. But then I was doing some reading on underground Jewish cults and I found a pretty natural way to connect a language toxicity to a really personal narrative, even if that meant liberal falsifications and misreadings, and a story sort of bloomed fast out of that: a husband and wife who are sickened by the speech of their daughter. Literally. So sickened that they have to leave her. A situation so bad you’d have to abandon your child. This really frightened me, and I couldn’t even imagine it, which meant I had to chase it down. That was the opening premise, and once I had that I wrote the book in just over a year.
32 Comments
January 19th, 2011 / 1:06 pm
January 19th, 2011 / 1:06 pm
Madras Press: New Ben Marcus, Kalfus, Kaufman, Barthelme
Madras Press has announced the release of four new titles, each in short run, short sized book copies, sold with all proceeds going to the charity of the author’s choice.
Among these is the first new standalone work by Ben Marcus in a long while, a 72 page book called The Moors:
The Moors is the story of a man, Thomas, whose understanding of reality leaves him at the prospect of encountering an attractive colleague while refilling his coffee at work; more so of the contents of his mind over the course of those feet from his desk, and the ensuing minutes. Along the way, shadows loom and bend, backs are turned, walls seem to move, and the passage of time is marked by the sounds of living objects colliding just beyond the sight of those who are listening. A breathtaking and claustrophilic story by Ben Marcus, written at a terrifyingly close point of view.
Also available is A Manual for Sons, an excerpt from Donald Barthelme’s The Dead Father; a volume of three new stories by Ken Kalfus; and The Tiny Wife by Andrew Kaufman. I have the first series of releases from Madras and they are beautiful little objects, and each toward a great cause.
Don’t write all over the goddamn books please.
I hate blurbs on book covers, at least put that shit on the back if it’s all you can do you think you have to to sell your shit and maybe you’re right, I’m no good at selling it. A terrible telemarketer, I would probably make a mediocre regional fertilizer salesman, which is to say I would be shitty at selling shit. So you go on building bridges and stuff. I mean I get it. It’s silly but I’m better at burning them britches. What I like is to consume my brain food from a plain colored box, like an Oreo milkshake, or expensive yogurt the way Muslims frown on figure drawing in the mosque. I think that’s rad. Frown away Mohammad. Patterns are whatever. Pyramids are when. They are good to think on I think. I like to gaze at them and think on Gawd oh gawd the stars the trees. But my kind of cover is a naked Knopf hardbound from the 60s. Maybe I’m boring and probably it’s vain but I don’t want other people’s opine opinions influencing my internal dialogue, not until I’ve digested my lunch which is to say eaten the text the film the album the thing and pooped out an opinion of some kind, however odd it might look oblong and oblique, not until I’ve had time to play with it to prod it to scrape and slice it beneath the blade of my tongue. But I like first for a thing to be in space like a rock in the ground pulsing tight 600 million miles a fucking hour going this is True btw, and then to have it there in my mouth in my ears my eyes huge like a fresh batch of fungus, a bunch of firecrackers going off in my bulb my skull my head. My favorite thing said in French is J’ai mal à la tête. To think of it rolls off the tongue like butter on bread.
Gabe Durham vs. The Internet
Ben Marcus Rhett Faber Gabe Durham on Jonathan Safran Foer Franzen the other Mary James Robison:
“The Time I Tried to Defend Jonathan Franzen on the Internet”
Alternative Magazine Covers
As Jonathan Franzen solemnly graces the cover of TIME magazine, we got to thinking who of his peers were also deserving of a cover on other magazines, and what those magazines might be. Here are our top picks:
56 Comments
August 17th, 2010 / 4:17 pm
August 17th, 2010 / 4:17 pm
Blake Butler—
We Are Champion Issue 2 is live, featuring new work by Jimmy Chen, Chris Oklum, Mike Young, Ben Mirov, Joseph Goosey, Tyler Flynn Dorholt, Miguel Morales, Mark Leidner, Reynard Seifert, and an interview with Ben Marcus about his forthcoming Flame Alphabet, who says, “I do this for myself, for my own standards, because I don’t know how to do it for anyone else. I’m the only reader whose thoughts I have deep access to. It would all be guesswork to do this for someone else, to address someone else’s standards.”
benmarcus.com
Ben Marcus has updated his personal website with new content, with excerpts of some recent work (specifically, a section of “The Moors” from the latest Tin House, and a piece on Thomas Bernhard from Harper’s in 2006). Hopefully this is a precursor to his hopefully soon forthcoming next novel, The Flame Alphabet.
He’s also put up some pieces by other authors, including a ridiculously sublimed piece, “The Copper Beeches” by the excellent Mark Doten. Check this man out:
Mother, father, me, here in the mansion, she and her father over the garage, the Mechanic’s House, we called it, her father a mechanic, then a suicide, still after his death we called it the Mechanic’s House, not the Suicide’s House. Spied through bedroom window, tits in profile, bigger by the year, opera glasses, the two of us children, just think, two children, running among the sycamores, then our crawl space where the Second Nocturne hissed. Our hand-crank record player, she wouldn’t have abandoned all that. And the stench in the foyer, lounge and conservatory, rotting meat. Perhaps a human stench, a human rot
I want Doten’s book Green Zone Kidz now.
Please change the curriculums of our high schools, it will work. Start now.
[via Caketrain on twitter]
Matthew Simmons—
You may know the backstory of Ben Marcus’s book The Age of Wire and String—that it was written with the help of Stith Thompson’s Motif Index of Folk-Literature. Did you know the entire thing is online? If so, why the fuck didn’t you tell me?
Blake Butler—
Reup: an excellent 2002 interview with Ben Marcus at Powell’s.
Dave: Language is central to the novel, the lack of it or the forms it can take. And there’s such a blur between food and language, so much confusion between those two.
Marcus: It’s one of those deep concepts that drives me as a writer. It’s constantly coming out of me. I’m always stuffing cloth in a character’s mouth. I’m always trying to mythologize the mouth, to make language animated so you can see it coming out of people’s heads, destroying objects. It’s provocative to me to look at the body and what the body does as a force of nature. Take the attributes and turn the volume up on them just a tiny bit, or maybe spray them with some revealing jelly so you see a little more than what might be there. In the lie you’re telling there might be some little parable, some revelation of what is real.
I feel so drawn to those notions and metaphors that I feel I can’t write about them any more. It takes three sentences for me before I start writing about cloth. It’s like a fingerprint. So I’ve set a rule for myself that the next book can have no wind, no references to weather, no cloth.
Grammar Lesson: Bridget Jones’s Diary
For my first contribution to Mean Week, I want to address something that bugs the living hell out of me: when attributing singular possessive nouns ending in the letter -s-, nothing changes from the way in which you attribute singular possessive nouns ending in other letters. Just add an apostrophe -s-. That is all. Don’t change anything or do anything differently. This is very, very simple.
For example:
Philip Roth’s novels are boring as fuck.
Ben Marcus’s novels are fun.
You see how I did that?
I did not write: Ben Marcus’ novels are fun.
[Because that doesn't make any sense - Ben Marcus is one dude, not plural dudes.]
I also did not write: Ben Marcu’s novels are fun.
[Because that makes no sense. His name is Marcus, not Marcu.]
Not sure why so many people are incapable of understanding this simple punctuation, but I notice these mistakes occurring all the time — and it drives me bonkers!
A Field Guide for the Literary Web Site: Authors’ Pages, A-D
Author websites generally fall into two broad categories: A) The Slick and Professional Page; these are useful when the author just wants a functional thing that will make other people take them seriously and some contact information just in case anyone has a bag of money to send them. Generally, it’s journalists who go this route. Take Richard Morgan’s website for example. (Bonus points for the Anagram.)
Then there are the author websites that are meant to do something else entirely, to be a thing in and of themselves. Maybe they have a good blog or art or something attached. Maybe they have some kind of page-maze to click through. Here are some of my favorites:
Ander Monson’s website (OtherElectricities.com) Monson has some great essays posted. The whole website reads more like an e-book than a website and the design is great.
Aimee Bender (Flammableskirt.com) I like the writing exercises section and all the illustrations are good.
Ben Marcus’s site (Benmarcus.com) is really awesome, but I think it’s broken or something right now. Ben had a section called “Disguises” that was a bunch of pictures of people who looked like him (Big bald headed white guys with glasses, Caucasian Jimmy Chens.) Don’t know what’s wrong with the…
Chelsea Martin (Jerkethics.com) Duh. I felt like I had to include this on the list even though you’ve probably all seen it. Chelsea’s drawings are rad. ( and the drawings are very good::: )
David Shields (Davidshields.com) Shields’s site is really well designed and the front page is a picture of his bald head.
More to come…
‘This book is a catalog of the life project’
I am in a bad writing phase or something. I haven’t been writing very much recently. Instead of writing, I’m reading a lot of things: student papers, composition textbooks, books to review, and then some stuff to make me feel better. Everyone has that shelf or two of books that they read to feel better, I guess. I’m rereading Ben Marcus. Slowly. I just finished Notable American Women a few days ago. Now I’ll start The Age Of Wire And String. I pulled the book off my shelf to look at it and a few pieces of paper fell out.
I might have shown this to a couple of people, so sorry if this is old news.
On the papers is an index. I made an index of all the terms Marcus defines in the book and listed the page number of the definition. I made this index one summer a few years ago. I enjoyed making it. It made me feel busy and involved in something. I don’t know if it is worthwhile. I don’t even know if this makes sense.
But some of the terms you can actually look up as you read – DROWNING METHOD, for example, shows up in the text on page 10, but it isn’t defined until page 94.
That was a good summer.
Okay, here it is after the jump (and I understand if you make fun of me):
The seven credos
Ben Marcus guest edits the oct/nov fiction for GUERNICA, asking the seven writers to offer a one sentence credo:
1. I believe that writing is the highest resolution medium.
2. I struggle with the difference between what I pledge to myself and what I do finally; or, what I sometimes call my falseness; but when I say after all I’m not being false for wanting to be a certain way, that I just have high goals, I will have to agree that no one else around is false either and say for myself that I have the perpetual condition of falling short.
3. I endeavor, word by word, sentence by sentence, to write myself an adult-sized, customized uterus in which I and invited guests may duck, buck, and float.
4. (I write because) I am interested in dark and stormy nights, syntax and moments of delicate, major humiliation.
5. I ogle, grope, and weep; always in that order.
6. I don’t trust fiction with no sense of humor and I know I’m writing it when everything adds just so; I know I’m closer when I’m left holding extra parts—parts I know I need even though the thing runs fine without them.
7. I will be a lion for my own cause.
These are unattributed, and skimming to the list before reading Marcus’ intro, I assumed all 7 were his (made more convincingly by No. 3′s “customized uterus,” which shares Marcus’ dry and somewhat grotesque symbolic tendencies). I’m usually annoyed by manifesto-ish stuff, but this seems earnest enough. I really like how unabashed No. 7 is.
Here’s my credo: Everyone has a story, so put it down.
Okay, time to start printing out those long-ass stories. Geez, writers really have a lot of time on their hands. Good job Ben.
Uncategorized / 8 Comments
October 22nd, 2008 / 3:33 pm
October 22nd, 2008 / 3:33 pm
