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 SAUNDERSI 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.
More George Saunders Quotes
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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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Anyone can be shamed, but feeling guilt requires empathy within.
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I do find the values in A Christmas Carol significant. It is important not to be mean and stingy and not to give up love for money.
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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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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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As a fiction writer, one of things you learn is God lives in specificity. You know, human kindness is increased as we pursue specificity.
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You don’t want to be that parent – the one who dresses his kid in a cloth sack when all the other kids are in Armani cloth sacks – especially in a time like ours, when materialism is not only rampant and ascendant but is fast becoming the only game in town.
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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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When I think about what fiction does morally, I’m happier thinking of a person full of multiplicities – sort of fragmented.
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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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All traditions are also full of meanness for the sake of meanness.
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There comes that phase in life when, tired of losing, you decide to stop losing, then continue losing. Then you decide to really stop losing, and continue losing. The losing goes on and on so long you begin to watch with curiosity, wondering how low you can go.
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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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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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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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