I understand what something short should be like. I understand beauty in that form. If I start extending, somehow I kind of lose my bearings.
GEORGE SAUNDERSMaybe 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.
More George Saunders Quotes
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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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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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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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I’m not a big fan of my books going on cross-country road trips. They get arrogant and, next thing, start aspiring to become ‘large-print’ books. I say, let them stay home and be regular small-print books.
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I’ve seen time and time again the way that the process of trying to say something dignifies and improves a person.
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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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The great American denial riff is that you can do whatever you like and you always triumph at the end. The world is saying no, you can do what you like, but there are consequences. And maturity is to be able to turn to the consequences and accept them.
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I started out in engineering. I was a geophysical engineer. Throughout the course of my life I’ve done a lot of strange jobs, and the effect has been to make me think a little more skeptically about our capitalist society.
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The artist’s job, I think, is to be a conduit for mystery. To intuit it, and recognize that the story-germ has some inherent mystery in it, and sort of midwife that mystery into the story in such a way that it isn’t damaged in the process, and may even get heightened or refined.
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So, good news/bad news: good news that I’m progressing; bad news that life is short and art is long.
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Whatever you love, that will be an influence. It just will. So in effect the young writer’s job is: go out and find some stuff to love.
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When you’re embarking on a piece of writing, the anxiety is just too much, especially when you’re young and you’re trying to figure out if this is your thing or not. You feel like, “if I don’t write a good story, I gotta get going to law school!”
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I heard Zen teacher one time talking about abortion, and he was saying the way that abortion makes bad karma is any time the person involved pretends that there’s not a cost to the choice.
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The one thing fiction and non-fiction writing have in common for me is that sense of trying to get the sentences to be minimal but at the same time be a little overfull – to encourage them to do a kind of poetic work.
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I’m fascinated with actors, and I’ve never quite understood the process.
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