Ben Katchor Quotes
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I always lived in old buildings, and I thought about who lived here before. You'd have to be oblivious not to.
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I'm very interested in music and where these sounds of Western music come from.
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The click [of a light switch] is the modern triumphal clarion proceeding us through life, announcing our entry into every lightless room.
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In America, there's a very long tradition of a comic strip that comes in newspapers, which is not true all over the world. To sell papers, they put color comics in. It's worked, up until now. Now these papers can't afford it. They always had minuscule ad budgets, and now the things which people probably read these papers for are gone.
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Goat curry and a female librarian, that's what I'm in the mood for.
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A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement.
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I think a lot of these terms, nationalistic things, somebody is an American, or somebody is a Frenchman, or somebody is a Jew, I don't know, it doesn't mean anything to me. You really should start augmenting these words, saying what kind. If you want to say somebody is a Jew, what do you mean by that? Does he have blonde hair? I think a lot of these ancient nationalistic and ethnic terms have kind of lost their meaning, or their meaning is so broad, it's nothing. It's like he's connected to the ancient world. Everybody is.
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I've wasted the last five years of my life dealing in religious articles. People today find spiritual solace in ballroom dancing.
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Certain movies that are trying to evoke history are just like being in an antique store, and all you notice is that all the stuff has been gathered together, and it feels like a pile of antiques. How can you think that that will evoke the past? It doesn't even have to evoke anything, but anyway, it's how we're living. It's this moment where nobody has to immediately think too much about how things are being documented. It's a great time.
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A picture story just doesn't run like a film. It doesn't have 24 frames per second. It doesn't deal with this illusion of movement. It's more like if you did an illuminated novel. I think both of those things should be running at full blast, not less of both so it becomes an easier thing. I think it should be twice as dense. That's just what interests me.
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There's a real connection between the history of print in Europe and nationalism, and how those two things could be formed. I think they may both now be ending, for good and bad, but I think mainly for good. Either globalism was supposed to make people all realize this is one big business going on and we should know what's going on everywhere, or it makes people say, "I don't want to become part of this thing. I want to be incredibly different from you and I want to uphold my local behavior." Dress a certain way.
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Really interesting novels, they always are so demanding of you on some level that you don't fall asleep.
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I never wore a watch. I always depend on public clocks, and stores have clocks, but that is strange.
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I live in an apartment building built in 1925, and it hasn't been heavily renovated, so I feel very much connected to that time and what went on in that place.
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As a small kid, I came across things like these early Edward Gorey books in department-store bookstores. These were these really unusual objects to me. I didn't know how they fit into the comic world or into newspaper comics.
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I was born Moishe Ketzelbourd but the Indians call me Maurice Cougar.
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I think architectural appreciation would be a minor occupation after a nuclear war. People would just be happy to have something to eat.
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I think Jewish history did away with a priesthood when the Temple was destroyed, and it became, supposedly, a religion of scholars. A rabbi is just a scholar.
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You can have your own watch and always doubt it. If I had a watch I'd probably always be doubting it or the batteries would be dying. I just know that people always have trouble with their watches, and that's why I like public clocks.
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What sort of attractions do you think lured our coreligionists out of the ghetto and into the mainstream of European culture? Was it the wit of Molière, or the ingenious stage mechanisms of Pixérécourt? Or was it simply the opportunity to cast an eye, without shame, upon the living, unclad human form?
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The funny thing is, nationalism only could have come about in Europe after the invention of printing. You could have this thing that was a book in a vernacular language, and you could imagine there were other readers of this book who you couldn't see, but they were a theoretical union of readers who all use the same language. That is kind of a prerequisite for a national fantasy. You need that thing, and it's a strange thing.
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The basis of national identity is to say, "This is authentic to me or my forebears," and is there even such a thing? How authentic is it to your life? Just because your grandfather did it, what does that have to do with you? If I say I'm working in the style of Rembrandt, so what? You can say it, but are you really? No, because when you try to literally copy a cultural artifact, you change it. It dissolves, and then who's looking at it? People who appreciate that kind of drawing, or people it means nothing to?
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You know how misleading an image is. You see an image in the newspaper, if they left the caption off, good luck knowing what's going on. There is something inherently misleading about images, so they need annotation.
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