I think people have come to expect that in artistic representation; that every work of art should be a work of extravagant hope.
GEORGE SAUNDERSI’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.
More George Saunders Quotes
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I often wonder if there are certain areas of real life that are roped off, with a sign saying, “Art, don’t come in here.” But that’s maybe a deeper question.
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And the brevity is part of the challenge. I like stories because I get them – I know how to make beauty, or something like beauty, in that mode.
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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.”
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Monologue is the most honest way to represent human beings.
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I am always considering the reader. Although this is admittedly kind of odd: Which reader? On what day? In what mood? For me, that “reader” is actually just me, if I had never read the story before.
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The artist’s job, I think, is to be a conduit for mystery.
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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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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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If you have a friend, what’s the best way you can experience her beauty? It’s to really accept her. She’s weird in this way,
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I read to make myself feel awake.
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I would kind of, you know, go stand next to some unlucky guy and say eventually, Hi, I’m George. You know, I’m with The New Yorker. I’m a liberal. I’m somewhat left of Gandhi. Do you want to talk? And, you know, they always did.
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There’s a really nice moment in the life of a piece of writing where the writer starts to get a feeling of it outgrowing him – or he starts to see it having a life of its own that doesn’t have anything to do with his ego or his desire to ‘be a good writer’.
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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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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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Every step was a victory. He had to remember that.
GEORGE SAUNDERS






