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.”
GEORGE SAUNDERSThe 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.
More George Saunders Quotes
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Monologue is the most honest way to represent human beings.
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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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Anyone can be shamed, but feeling guilt requires empathy within.
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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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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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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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I always cheerfully say, “Well, you know, the species is adapting, and whatever it needs to do, it’ll do,” but I do think it’s maybe a little bit alarming.
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I was a big and un-ironic fan of Dear Abby when I was a kid in Chicago. I think I sort of internalized her. So I have this inner Abby: cranky, proper, folksy yet scathing, with a beehive hairdo. But that’s my issue.
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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.
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There comes that phase in life when, tired of losing, you decide to stop losing, then continue losing. Then you decide to really stop losing, and continue losing. The losing goes on and on so long you begin to watch with curiosity, wondering how low you can go.
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And I have finally realized that, you know, it’s not a given that my lifespan will accommodate my writing aspirations. It could be that it would take me 12 more books at six years each to get it – which means I would have to live to be 126. Which I fully intend to do, of course.
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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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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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An artist’s job is to be interested in things as they are.
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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.
GEORGE SAUNDERS