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.
GEORGE SAUNDERSAs a fiction writer, one of things you learn is God lives in specificity. You know, human kindness is increased as we pursue specificity.
More George Saunders Quotes
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I do find the values in A Christmas Carol significant. It is important not to be mean and stingy and not to give up love for money.
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When you talk about a reader being emotionally moved, a feeling of empathy, I think that comes out of that line-by-line respect for reader. That’s actually where it all comes from.
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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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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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I tend to foster drama via bleakness. If I want the reader to feel sympathy for a character, I cleave the character in half, on his birthday. And then it starts raining. And he’s made of sugar.
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I have nothing. My model is I have nothing figured out, and I’m starting with some little nugget and hoping that it will talk back to me enough to let it grow.
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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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We have to move toward specificity, intelligence, facts, proof, and mutual affection. What I think people have to do now is be very, very assertive about the utter essentiality of intellectual undertakings.
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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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I think that fiction has a part to play in urging us, as a species, toward compassion.
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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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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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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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Someone told me once – I mean I said, “Is it ok that I don’t really know what the three-act structure is?” And he said, “It’s basically: Act 1: a guy climbs up a tree; Act 2: people come and throw stuff at him; Act 3: he gets down.”
GEORGE SAUNDERS