Life is short, very short, and what are we doing here if not trying to become more generous and loving?
GEORGE SAUNDERSMy 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.
More George Saunders Quotes
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I’m turning 58, and you get that kind of weird, old-guy feeling of you don’t have an infinite number of years left and if there’s anything you want to say or represent, it’s time to try it.
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…smile first, then speak.
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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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One of the things I noticed about the Trump supporters was a lot of projected fear. I can’t tell you how many times a conversation went like this: “We’ve got to stop these immigrants, because it’s terrible.” I’d say, “Okay, what personally have you observed about this?” And there would be basically nothing in that box. And I’d say, “Where’d you get your information?” thinking they were going to say Fox. But they would always say, “Well, I get my information from all kinds of sources.” Fox is kind of center-left to a lot of people now.
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Chekhov – shall I be blunt? – is the greatest short story writer who ever lived.
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Do all the other things, the ambitious things – travel, get rich, get famous, innovate, lead, fall in love, make and lose fortunes…but as you do, to the extent that you can, err in the direction of kindness.
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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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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.
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The idea is that what an artist lives through should broaden his notion of what it is possible for a human being to live through, and that new understanding should then get into and expand the work.
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The artist’s job, I think, is to be a conduit for mystery.
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With nonfiction, I go in trying to be really honest about what my preconceptions are.
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When I think about what fiction does morally, I’m happier thinking of a person full of multiplicities – sort of fragmented.
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My go-to default is to try to be nice, which I feel does less harm in the long run than trying to be, say, assertive. If I am nice and maybe too passive, I find that easier to live with.
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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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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.
GEORGE SAUNDERS







