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.
GEORGE SAUNDERSHumor is what happens when we’re told the truth quicker and more directly than we’re used to.
More George Saunders Quotes
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Reading is a form of prayer, a guided meditation that briefly makes us believe we’re someone else, disrupting the delusion that we’re permanent and at the center of the universe. Suddenly (we’re saved!) other people are real again, and we’re fond of them.
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The 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.
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America, to me, should be shouting all the time, a bunch of shouting voices, most of them wrong, some of them nuts, but please, not just one droning glamourous reasonable voice.
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In the absolute sense – kind of from the God’s-eye view – God might feel like, “I made this thing that has all of that in it, all the horror and all the beauty.”
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All along, my mantra was: Don’t write unless it contributes to the emotion, and do anything you do in service of the emotion only.
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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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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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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.
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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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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.
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Based on the experience of my life, which I have not exactly hit out of the park, I tend to agree with that thing about, If it’s not broke, don’t fix it. And would go even further to: Even if it is broke, leave it alone, you’ll probably make it worse.
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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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If you bring forth what is within you, it will save you. If you do not bring it forth, it will destroy you.
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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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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