10:04: A Novel

ACKNOWLEDGMENTS

Thank you, Ari. Thanks to my editor, Mitzi Angel, and to my agent, Anna Stein. I’m grateful for readings by: Michael Clune, Cyrus Console, Stephen Davis, Michael Helm, Sheila Heti, Aaron Kunin, Rachel Kushner, Stephen Lerner, Tao Lin, Eric McHenry, Anna Moschovakis, Maggie Nelson, Geoffrey G. O’Brien, Ellen Rosenbush, Peter Sacks, Ed Skoog, and Lorin Stein. This book was written in conversation with Harriet Lerner; what’s best in it is for her.

I’m indebted to the Lannan Foundation for a residency in Marfa, Texas.

The story “The Golden Vanity” appeared in The New Yorker. Two excerpts of this book appeared in The Paris Review. The poem I wrote in Marfa, “The Dark Threw Patches Down Upon Me Also,” was made into a chapbook by the Center for Book and Paper Arts at Columbia College under the Epicenter imprint and was published separately in Lana Turner: A Journal of Poetry and Opinion. I am grateful to the artists at Columbia College and to the editors of these publications.

The “Institute for Totaled Art” is modeled on Elka Krajewska’s Salvage Art Institute; my description of the fictional version overlaps with my account of Krajewska’s actual work in “Damage Control,” an essay that appeared in Harper’s Magazine. The narrator’s collaboration with “Roberto” is based on a self-published book I cowrote with Elias Garcia, but “Roberto” is otherwise a work of fiction.

Time in this novel (when The Clock was viewable in New York, when a particular storm made landfall, etc.) does not always correspond to time in the world. I never had the chance to see The Clock reach midnight; I’ve borrowed details from Daniel Zalewski’s essay on Christian Marclay, “The Hours,” in The New Yorker.

I first encountered the text I use as an epigraph in Georgio Agamben’s The Coming Community, translated from the Italian by Michael Hardt. It is typically attributed to Walter Benjamin.