By Ben Lerner
Within the final yr, the narrator of 10:04 has loved not going literary good fortune, has been clinically determined with a possibly deadly scientific situation, and has been requested by means of his ally to aid her conceive a baby. In a brand new York of more and more widespread superstorms and social unrest, he needs to reckon together with his personal mortality and the chance of fatherhood in a urban that may quickly be underwater.
A author whose paintings Jonathan Franzen has referred to as "hilarious . . . cracklingly clever . . . and unique in each sentence," Lerner captures what it's prefer to be alive now, in the course of the twilight of an empire, while the trouble of imagining a destiny is altering our dating to either the current and the past.
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Additional resources for 10:04
He wore a long white smock over a finely cut suit of black silk and cream shirt, the formal nature of his clothes at odds with the untidy workshop in which he spent most of his time. ‘Now I’m ready,’ he whispered. ‘I should hope so,’ said a woman’s voice behind him. ’ He turned and undid the ties holding his smock, lifting it over his head as Serena d’Angelus swept into his studio like one of the terrible matriarchs played so well by Coraline Aseneca. She tutted in distaste at the scattered tools, ladders and scaffolds.
The idea of setting off without a detailed plan rankled at Marius, a warrior for whom each advance and manoeuvre was planned with meticulous perfection and enacted without deviation. Julius Kaesoron had once joked that he should have been selected to join the Ultramarines, meaning it as a friendly jibe, but Marius had taken it as a compliment. The Emperor’s Children strove for perfection in all things and Marius Vairosean prized this striving above all things.
The marble column was a gleaming white rectangle, some four metres tall, its surfaces as yet unblemished by chisel or rasp. Ostian circled the marble, running his silver hands across its smooth surface, feeling the structure within and picturing where he would make the first cut into the stone. Servitors had brought the block up from the Pride of the Emperor’s loading bays a week ago, but he had yet to complete his visualisation of how he would bring forth his masterpiece from the block. The marble had come to the Emperor’s Children’s flagship from the quarries at Proconnesus on the Anatolian peninsula, where much of the stonework that comprised the Emperor’s palace had been sourced.