As a writer I’m essentially just trying to impersonate a first-time reader, who picks up the story and has to decide, at every point, whether to keep going.
GEORGE SAUNDERSI 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.
More George Saunders Quotes
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One of the inspiring things about Susan Sarandon career is that there’s a quality of real fearlessness in it – you seem to be in it for the challenge and the experience.
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I’ve noticed that nowadays I’m doing a lot of stuff on the phone and on the computer, which I usually wouldn’t do earlier. And I can feel my brain being rewired:
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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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Why were we put here, so inclined to love, when end of our story = death? That harsh. That cruel. Do not like.
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If I can be more efficient, I’m actually being more respectful to the reader, which then implies a greater intimacy with the reader.
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Whole idea is really intriguing to me. If you took snapshots of ourselves throughout the day, the way that our mind is twisting and turning, then at the moment of death, the mind would be twisting and turning in the same way. But the Buddhists say it’s super-sized because there’s no bodily damper on it.
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I’m getting anxious, I’m getting more manic. Now, I’m an extreme case because I’m old and I’m overdoing it. But still, it’s really interesting that I can actually feel a change in my neurochemistry from this interaction with the technology.
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He was a father. That’s what a father does.Eases the burdens of those he loves. Saves the ones he loves from painful last images that might endure for a lifetime.
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When you read a short story, you come out a little more aware and a little more in love with the world around you. What I want is to have the reader come out just 6 percent more awake to the world.
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I’m not thinking much about overall themes or preoccupations or anything like that. Instead I’m just trusting that, if I’m working hard, various notions and riffs and motifs and so on are very naturally suffusing the stories and the resulting book.
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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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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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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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Fiction is open to whoever comes in the door, as long as you come in energetically.
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As the writer of this book [Lincoln in the Bardo], what I loved was the feeling of having so many surprises come at the end that I hadn’t really planned or planted.
GEORGE SAUNDERS