If you think of a work of fiction as a kind of scale model of the world, then the positive valences – where things turn out better than you thought they would – ought to be in there somewhere, too.
GEORGE SAUNDERSAs 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.
More George Saunders Quotes
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I find that the great artists I’ve met are people who are so playfully invested in their process that, even if it doesn’t come out the way they like, they still power through and even take energy from it.
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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 it was a big revelation to me earlier in my life that people who appear to be evil are actually not. In other words, nobody wakes up in the morning and says, “Yuck, yuck, yuck, I’m gonna be evil.”
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One way or the other; whether you get it or don’t get it, there’s a cost. That’s just basic responsibility, to admit that there’s a cost. And the bad karma is when you pretend that the thing is free.
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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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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.
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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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I see that being looked at askance as a form of elitism now, which is really scary.
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I think in our time, you know, so much of the information we get is pre-polarized. Fiction has a way of reminding us that we actually are very similar in our emotions and our neurology and our desires and our fears, so I think it’s a nice way to neutralize that polarization.
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We have to move toward specificity, intelligence, facts, proof, and mutual affection. What I think people have to do now is be very, very assertive about the utter essentiality of intellectual undertakings.
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We’re in the transition between birth and death. But the one that people often know about is the transition between the moment of death and whatever comes next, so reincarnation or heaven or hell.
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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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I was trained in seismic prospecting. We’d drill a deep hole and put dynamite in the bottom and blow it up remotely, which would give you a cross-sectional picture of the subsurface, which tells you where to drill.
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Social media sometimes feels like a vehicle for one-dimensional sniping, more than true criticism.
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The one thing fiction and non-fiction writing have in common for me is that sense of trying to get the sentences to be minimal but at the same time be a little overfull – to encourage them to do a kind of poetic work.
GEORGE SAUNDERS