[Writing] is almost like those boats that sit really low in the water; they look kind of ugly. And then you get one of them up to 80 miles an hour and the hull comes up, and it’s a beautiful thing. I’m okay with that for myself.
GEORGE SAUNDERSChekhov – shall I be blunt? – is the greatest short story writer who ever lived.
More George Saunders Quotes
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The most hopeful thing in the stories, I hope, is wit. I make it up. If I make up a world in which we’re ruled by big talking turds, it doesn’t mean that we are. So you shouldn’t feel depressed.
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The artist’s job, I think, is to be a conduit for mystery.
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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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I had an experience a few years ago where I was on a plane in which one of the engines went out. I couldn’t even remember my name. I was just repeating the word no over and over.
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That’s the only way that I can figure out how to live, is to say, “Well, I don’t know what this adds up to, but I can do the best I can.”
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When you’re embarking on a piece of writing, the anxiety is just too much, especially when you’re young and you’re trying to figure out if this is your thing or not. You feel like, “if I don’t write a good story, I gotta get going to law school!”
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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 know what it feels like to be in that middle and lower-middle class, and feel like the culture is passing you by; it translates into a great sense of personal frustration that can then morph into political frustration.
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I think something that I can’t name about our media has made us move away from that kind of specificity and that kind of curiosity.
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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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I’m fascinated with actors, and I’ve never quite understood the process.
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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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There’s this de facto assumption that for something to have value, it has to be economically self-supporting – which imposes a very low ceiling on a culture.
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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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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.
GEORGE SAUNDERS