My 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.
GEORGE SAUNDERSWith nonfiction, I go in trying to be really honest about what my preconceptions are.
More George Saunders Quotes
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If you’re going to make an emotional connection with somebody, whether it’s in the story or in the world, there’s a certain amount of self-acceptance that is required.
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My heart goes out to him. Sort of. Because empathy depends on how you’ve spent your day.
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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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Compassion doesn’t have to be weak or enabling; it can also be quite bold.
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The scariest thought in the world is that someday I’ll wake up and realize I’ve been sleepwalking through my life: underappreciating the people I love, making the same hurtful mistakes over and over, a slave to neuroses, fear, and the habitual.
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Fiction is open to whoever comes in the door, as long as you come in energetically.
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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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To understand any plea for further consideration of a group you don’t know anything about to be some form of, quote, political correctness. These things are bubbling right under us.
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I think kindness is a sort of gateway virtue – having that simple aspiration can get you into deep water very quickly – in a good way.
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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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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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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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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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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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For me, when I’m coming up to a place where I have to make somebody up, it’s almost like driving and taking your hands off the wheel.
GEORGE SAUNDERS