Compassion doesn’t have to be weak or enabling; it can also be quite bold.
GEORGE SAUNDERSWhen you talk about a reader being emotionally moved, a feeling of empathy, I think that comes out of that line-by-line respect for reader. That’s actually where it all comes from.
More George Saunders Quotes
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I love story-writing because I can (more or less, on occasion) actually DO it. That’s really the truth. I like the idea that a story is sort of a site for making cool language effects – a site for celebrating language, and, therefore, the world.
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You don’t want to be that parent – the one who dresses his kid in a cloth sack when all the other kids are in Armani cloth sacks – especially in a time like ours, when materialism is not only rampant and ascendant but is fast becoming the only game in town.
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If I can be more efficient, I’m actually being more respectful to the reader, which then implies a greater intimacy with the reader.
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If you’re going to make an emotional connection with somebody, whether it’s in the story or in the world, there’s a certain amount of self-acceptance that is required.
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As a writer I’m essentially just trying to impersonate a first-time reader, who picks up the story and has to decide, at every point, whether to keep going.
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Nostalgia is, ‘Hey, remember the other mall that used to be there?’
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I think in our time, you know, so much of the information we get is pre-polarized. Fiction has a way of reminding us that we actually are very similar in our emotions and our neurology and our desires and our fears, so I think it’s a nice way to neutralize that polarization.
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I think kindness is a sort of gateway virtue – having that simple aspiration can get you into deep water very quickly – in a good way.
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If a writer understands his work as something that originates with him but then, with any luck, gets away from him, then what he needs is someone who can grasp the potential of the piece and lead him to that higher ground.
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There’s this de facto assumption that for something to have value, it has to be economically self-supporting – which imposes a very low ceiling on a culture.
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That’s the only way that I can figure out how to live, is to say, “Well, I don’t know what this adds up to, but I can do the best I can.”
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The artist’s job, I think, is to be a conduit for mystery.
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Social media sometimes feels like a vehicle for one-dimensional sniping, more than true criticism.
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All along, my mantra was: Don’t write unless it contributes to the emotion, and do anything you do in service of the emotion only.
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One way or the other; whether you get it or don’t get it, there’s a cost. That’s just basic responsibility, to admit that there’s a cost. And the bad karma is when you pretend that the thing is free.
GEORGE SAUNDERS