A Quote by Ben Lerner

Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass "conceptualism" that repeats vanguard gestures of the past minus the politics and historical context.
If contemporary literary fiction doesn't read a bit like science fiction then it's probably not all that contemporary, is it
I read a ton of fiction - historical, contemporary, literary, commercial, I love it all.
In high school I was drawn to the study of literature, poetry Shakespeare, contemporary fiction, drama, you name it - I read it.
I think it's important to humanize history; fiction can help us remember. A lot of books I've read in the past have been so much more important than textbooks - there is an emotional connection with one particular person. I'm very much of a research-is-important type of fiction writer, even for contemporary fiction. I wrote about blogs in America and I've never blogged. But I read many, many blogs - usually about feminist things, or about race, or about hair.
Some critics said, 'Hey, why are you writing historical novels?' I say they're not historical, they're contemporary, because people walking around who lived through this, even a little bit, they carry it inside. The contemporary isn't just what you can see now.
The problem with kitsch is that it is all too profound, manipulating deep libidinal and ideological forces, while true art knows how to remain at the surface, how to subtract it's subject from it's deepest context of historical reality. The same goes for contemporary art, where we often encounter brutal attempts to return to the Real, to remind the spectator or reader that he is perceiving a fiction, to awaken him from a sweet dream.
I think book clubs should read more contemporary poetry.
I read a lot of poetry. All types of poetry, but mostly Catalan poetry, because I believe poetry is the essence of language. Reading the classics, be they medieval or contemporary, gives me a stylistic energy that I'm very interested in.
We can no longer contemplate the subject - self - of contemporary art; it has been woven into infinite relationships, replaced by social movements, national image, and financial capital. The disappearance of the construction of the self of contemporary art makes it impossible to exist in the form of a subject. The subject of contemporary art that I speak of is a kind of naming event predicated upon the multiplicity of the environment. It includes politics, should have its own way of thinking, and can be perceived.
I dislike a great deal of contemporary poetry - all of the past you read is usually quite great - but it is a useful thorn to have in one's side.
It's not just what Christian fiction lacks I appreciate - it's what it offers. The variety is vast: contemporary, historical, suspense, mysteries, adventure, young adult, romance, fantasy, science fiction.
There is a lack of context in contemporary education. And contemporary consideration - because we live in those interiorities so much. Especially young kids who live by surfing the Web.
I go to contemporary galleries all around the world when I can. There's always something historical and something contemporary; those are my rock references.
Anyone reading contemporary poetry - especially contemporary African-American poetry - will quickly see that race is an enduring subject. What some don't realize is just how diverse the handling of that subject is. It's as diverse as blackness.
I think the anti-intellectualism of a lot of contemporary fiction is a kind of despairing of literature's ability to be anything more than perfectly bound blog posts or transcribed sitcoms.
"Contemporary art" for me is a kind of historical term that describes the 40 years between the Berlin Wall going up and then coming down. I'm not sure who will come up with a better term to describe art, but I think contemporary art is actually done for.
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