I always describe writing a story as throwing bowling pins in the air and then catching them.
GEORGE SAUNDERSIf 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.
More George Saunders Quotes
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When somebody you’ve known for 20 years, and with whom you have a full context, winks at you or whatever, it can be huge. I think in a sense what you’re trying to re-create in fiction is that.
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Maybe you could even think 100,000 people are inside each human being. And you drop a novel on that person, and a certain number of those sub-people come alive or get reenergized for some finite time.
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“Kindness” can mean a lot of different things. In this case, I felt I had to present his [Donald Trump’s] supporters in as fair a light as possible – many of them hadn’t been interviewed before and that entailed some interviewer-courtesy in the editing and so on.
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At times, they’re so Right and I’m so Left, we agree.
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I was a straight arrow, a control freak. I didn’t do drugs or drink, and this was the ’70s. I didn’t like the loss of control. Which isn’t exactly right, because I didn’t know what happened when you did drugs.
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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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Every step was a victory. He had to remember that.
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When something really bad is going on in a culture, the average guy doesn’t see it. He can’t. He’s average and is surrounded by and immersed in the cant and discourse of the status quo.
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Twitter is a deliberate abstention. Somehow I hate the idea of there always being, in the back of my mind, this little voice saying: ‘Oh, I should tweet about this.’
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I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that “reader” is actually just me, if I had never read the story before.
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Art is not some inessential frippery – it is the nation’s means of intelligently regarding itself. To cripple or stigmatize the arts is to doom one’s nation to a life of incuriosity, dullness, literalness and the worst kind of rank materialism.
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Developing our sympathetic compassion is not only possible but the only reason for us to be here on earth.
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I think it was a big revelation to me earlier in my life that people who appear to be evil are actually not. In other words, nobody wakes up in the morning and says, “Yuck, yuck, yuck, I’m gonna be evil.”
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My stories, I can understand them as a little toy that you wind up and you put it on the floor and it just goes under the coach. That I get. Beyond that, I’m a little lost.
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When I was a kid, I took ‘The Brady Bunch’ and ‘The Partridge Family’ very seriously. It was a world to me in the same way that the Greek myths would have been had I read them. You know, Marcia is Athena and Mr. Brady is Zeus.
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Even when the faith goes away, there’s that space where you crave something bigger than yourself. For me, that’s kind of where art came in, after that.
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I was trained in seismic prospecting. We’d drill a deep hole and put dynamite in the bottom and blow it up remotely, which would give you a cross-sectional picture of the subsurface, which tells you where to drill.
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When we talk about adversity, this is the moment when character really gets tested. When things aren’t going the way you want and you can’t see anyway that they’re going to go the way you want. That’s kind of when those old virtues really become valuable and vulnerable also.
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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 the writer of this book [Lincoln in the Bardo], what I loved was the feeling of having so many surprises come at the end that I hadn’t really planned or planted.
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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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Humor is what happens when we’re told the truth quicker and more directly than we’re used to.
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My idea about collections is that you write as hard as you can for some period and what you’re really doing during that time is hyper-focusing on the individual pieces – trying to make each one sit up and really do some surprising work.
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You can say you’re a liberal and everybody laughs and it’s a good time.
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So here’s something I know to be true, although it’s a little corny, and I don’t quite know what to do with it.
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I think people have come to expect that in artistic representation; that every work of art should be a work of extravagant hope.
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