I had an experience a few years ago where I was on a plane in which one of the engines went out. I couldn’t even remember my name. I was just repeating the word no over and over.
GEORGE SAUNDERSAll traditions are also full of meanness for the sake of meanness.
More George Saunders Quotes
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Why were we put here, so inclined to love, when end of our story = death? That harsh. That cruel. Do not like.
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I read Rand and thought, “I want to be one of the earth movers, the scientific people who power the world. I don’t want to be one of these lisping liberal artsy leeches.” So I was working against my actual abilities.
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One of the ways that we cope with anxiety is by over planning and over controlling. If we know where it’s going to, we can just relax and do it.
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Suddenly absurdism wasn’t an intellectual abstraction, it was actually realism. You could see the way that wealth was begetting wealth, wealth was begetting comfort – and that the cumulative effect of an absence of wealth was the erosion of grace.
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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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Chekhov – shall I be blunt? – is the greatest short story writer who ever lived.
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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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Since, according to me, your life is going to be a gradual process of becoming kinder and more loving: Hurry up. Speed it along. Start right now.
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Goodbye. I’m leaving because I’m bored.
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An artist’s job is to be interested in things as they are.
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In the moment of reading, the writer comes up to the surface and the reader comes up to the surface and they kiss, like two fish. That actually does happen.
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It was like either: (A) I was a terrible guy who was knowingly doing this rotten thing over and over, or (B) it wasn’t so rotten, really, just normal, and the way to confirm it was normal was to keep doing it, over and over.
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At times, they’re so Right and I’m so Left, we agree.
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The other thing that’s useful for me is this notion of the absolute versus the relative:if we walk out and it’s a beautiful morning, it’s only a beautiful morning because we don’t have a broken leg or hemorrhoids or something.
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[Writing] is almost like those boats that sit really low in the water; they look kind of ugly. And then you get one of them up to 80 miles an hour and the hull comes up, and it’s a beautiful thing. I’m okay with that for myself.
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It seems to me that there are certain thoughts and vignettes and attitudes that I have always had the desire to represent.
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If you think of a work of fiction as a kind of scale model of the world, then the positive valences – where things turn out better than you thought they would – ought to be in there somewhere, too.
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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 think about how I conceptualize the audience. The trick is that they’ve got to be smarter and more worldly than me. So as I’m revising, I’m keeping that in mind. I cannot condescend, even a little bit. Every single choice that I make is motivated by that.
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Life is short, very short, and what are we doing here if not trying to become more generous and loving?
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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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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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The artist’s job, I think, is to be a conduit for mystery.
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You can see a whole book as a series of creating an expectation and then delivering a skew on that expectation so it’s not totally satisfied.
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I would kind of, you know, go stand next to some unlucky guy and say eventually, Hi, I’m George. You know, I’m with The New Yorker. I’m a liberal. I’m somewhat left of Gandhi. Do you want to talk? And, you know, they always did.
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The book says [Lincoln in the Bardo],”I really need this sci-fi device of a ghost inhabiting another person.” You say okay kind of begrudgingly. So the structure seemed informed by need and efficiency.
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