Best 37 quotes of Mark Leyner on MyQuotes

As far as what I do, my value as a writer is certainly not to try to recapitulate a 19th century form. Certain styles of narrative don't conform to my style of experiencing the world.

“Et Tu, Babe” was born out of my absolute certainty that a writer’s life was solitary and insular, and I was happy with that. I love reading and writing, it’s my whole life.

I always thought of my work as being animated by a spirit of unhinged generosity.

I can tell from about 20 yards away when someone has a manuscript for me. I can just tell - they have that look.

I dont walk around chuckling all the time. My outlook is very bleak. Its worse than bleak, its apocalyptic.

I have an enduring, very robust infatuation with dictators. I have an infatuation with Stalin, Mao, and Mussolini. In the Paris Review interview I did (in 2013), I said my next book, this one, was going to be about Mussolini. I wound up only having a Mussolini cameo in the book.

I'm fascinated with video games, though I can't really play them. It's definitely an art form that intrigues me to no end, though.

I think as I have gotten older, my feelings about my role in the culture as a writer, and me specifically, has changed, and has become more degraded and marginalized. This may be a more personal and psychological than a sociological insight, but I feel more vulnerable.

I think I'm a shy, self-conscious person who thinks he's being looked at and tries to look okay. Not in a hottie, narcissistic way necessarily.

I think of memory as a game, that is as something one engages in with a very profound kind of "playfulness.

I think people got in touch with me either knowing my work, or probably more frequently just knowing a plot or sort of buzz about something I did and sort of saying, "Get that guy that writes the crazy stuff in here.

I think to simply make fun of something isn't particularly interesting. I try to not just do a parody of something or belittle something or disparage something.

I thought of myself as kind of an anarchist all my whole adult life, from the days when I was 15 or 16.

It's in great joy that we grasp truth.

I've always wanted to be a poet at the beginning. I would look at my grandparents' books and my parents' books. And in my family, a typical aspirational Jewish family, being a writer was very much exalted, and it seemed impossible to me, that I could ever do something like that.

I was an infinitely hot and dense dot.

My idea with my work is always to fashion something that's impossible to transpose into any other media.

My relationship with my readers is somewhat theatrical. One of the main things I try to do in my work is delight my readers.

My work generally tends to be an all-out, 360-degree subversive take on everything, most of all my own notion of myself as a son, father, husband, human being and male in this culture.

One of the things that struck me as unique about Hollywood is that I never had bad meetings. There were all enthusiastic, but meaninglessly enthusiastic.

People have no idea how much work it is for a man to produce an ejaculation. You have this seminal vesicle churning out this fluid, the prostate gland producing an alkaline solution. It's like having five iron chefs in your crotch working to cook up this stuff.

People really want to believe that there is no fiction. I think they find it much easier to imagine that novelists are writing memoirs, writing about their lives, because it's difficult to conceive that there's a great imaginary life in which you can participate.

Sometimes I think my purpose is as a saboteur when I'm working with other people, derailing what they're trying to do or taking things to a ludicrous extremity.

So where does the name Adam's apple come from? Most people say that it is from the notion that this bump was caused by the forbidden fruit getting stuck in the throat of Adam in the Garden of Eden. There is a problem with this theory because some Hebrew scholars believe that the forbidden fruit was the pomegranate. The Koran claims that the forbidden fruit was a banana. So take your pick---Adam's apple, Adam's pomegranate, Adam's banana. Eve clearly chewed before swallowing.

Stand-up comedy had an interesting effect on me in terms of how I started to think about constructing things, because I really loved the interstices, the linkages, or lack thereof.

The interesting thing about something in the back of your mind is that it can travel pretty far back in your mind.

When I started, I wanted to be thought of as tortured and seductive, not funny, but humor tends to be a reflexive part of a person's sensibility. It's an almost impossible thing to teach anyone, which leads me to believe that it's intuitive.

When you are a child, you often stare too closely at the wrong thing. I remember the first time I was taken to Yankee Stadium. Someone had spilled something sweet earlier in the day and the ground was covered with ants. I spent the whole game staring at the ants, and that was more fascinating than the game.

You are fiercely heterosexual and well-formed, and it's no one's business that you've shrunk your parents and keep them in a terranium, but you have a gatling gun for a mouth, and if that's a diary you're producing from your cleavage, I'm leaving.

Yo! You’re my dope dealer not my thesis adviser. If I wanted your opinion about my dissertation, I’d have asked for it, Motherfucker!

A person's name is a fate-conjuring incantation.

But that's what nonfiction is, people. Shitty feelings and encounters with death.

I really think this kind of consensual cannibalism is such a perfect analogue for the reciprocal relationship between writer and reader, and especially between writers and readers of autobiography. The reader of an autobiography consumes the life of the author, and the author, in turn, consumes the life of the reader, that portion of it surrendered to reading, or listening to, the autobiography.

I tend to interpret that whole 'everyone's wife is a Mossad agent' thing in a more sort of metaphorical way--that people you're intimate with might be, like, 'double agents,' y'know? It's a weird kind of paranoia you get about people you love--that they might turn out to be completely different from who you think they are, that it's all been some sort of diabolically patient plot against you. I think that's a pretty normal fear you have in any serious relationship. And that's why it's such a popular part of the epic, because so many people can relate to that fear. But personally, I don't really worry about it too much.

One of the things about Ike that makes him so indisputably a hero is that he doesn't leave his own contradictions to the effete disputations of armchair scholars. He grapples with them himself, in his own lifetime.

So, Strand looked at me, and he said, 'You should write about all this someday.' And I said, 'You mean about all the terrible privations and wrenching traumas from my childhood?' And he said, 'Yes, it would be hilarious!' And I said, 'You mean...nonfiction?

Yes, the hermitage is underground--miles beneath the surface of Antarctica. And yes, Ike refers to it as unten--literally 'under' or 'below.' But, hello, it's 'hyperborean'--of or relating to the arctic, frigid, very cold. The opposite of infernally hot. Well, what if it's WAY underground down near the inner core of the earth, where it's like 10,000 degrees? Well, what if it's up your ass where it's like 10,000,000 degrees? Well, what if you're a cocksucking dwarf racist retard midget dickwad? Well, what if you're a fucking scatological-bakery urinal-cake-boss motherfucking fist-fucked cow-pie anal-fissureman motherfucker?