George Saunders Quotes
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I understand what something short should be like. I understand beauty in that form. If I start extending, somehow I kind of lose my bearings.
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Chekhov - shall I be blunt? - is the greatest short story writer who ever lived.
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On one level, I am a total softie, sort of depressed and afraid of losing the people I love or failing them. To disguise that, there's all this harsh, poop-centric, external swagger, full of nastiness. I'm a cloaking device.
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Whole swaths of the book [Lincoln in the Bardo] are made up of verbatim quotes from various historical sources, which I cut up and rearranged to form part of the narrative.
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I'm repledging myself to human-scale values. As a fiction writer, the best data comes through the senses and is then processed through many revisions. We have to learn to be intelligent assessors of the data coming in to us and what it's doing to our mental process.
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Whether you're eighteen or sixty, in a certain way, whatever you know is valid.
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The Bush administration is a paragon of wisdom.
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My mind has an obsessive, neurotic quality, but I also have a very hard work ethic. I know that a lot of people think, oh, you have a wild imagination. I don't, really. If ten people are sitting around and someone says, "Hey complete this sentence in a funny way," I'm never ahead of the pack.
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I feel nervous because I revere [Zadie Smith] so much. I don't want to be stupid. If I say something stupid, just interrupt me.
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The switch that I'd like to throw on is the one that says, "Look, you're a human being whose mind is every bit as active as anybody else's. Your experiences are just as real." For that matter, even if they're even if they're crazy, they're valid. They occurred in this world so they're valid topics for literature.
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I am trying to remember that things have certainly been crazier in human history and they may get crazier here and now, and [here I am trying to be optimistic] it's even a good thing, to be going through all of this, if only to be reminded that history hasn't stopped - human existence is as fundamentally unmanageable now as it ever was.
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So for me the approach has become to go into a story not really sure of what I want to say, try to find some little seed crystal of interest, a sentence or an image or an idea, and as much as possible divest myself of any deep ideas about it. And then by this process of revision, mysteriously it starts to accrete meanings as you go.
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With nonfiction, I go in trying to be really honest about what my preconceptions are.
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And I have finally realized that, you know, it's not a given that my lifespan will accommodate my writing aspirations. It could be that it would take me 12 more books at six years each to get it - which means I would have to live to be 126. Which I fully intend to do, of course.
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I heard Zen teacher one time talking about abortion, and he was saying the way that abortion makes bad karma is any time the person involved pretends that there's not a cost to the choice, 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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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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When I'm not writing, I tend to get depressed and a little bit surly. And then when I'm writing, suddenly I feel enlivened. Now the only thing as I'm getting older that I notice is that it's a pattern.
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A hip-looking teen watches an elderly woman hobble across the street on a walker. "Grammy's here!" he shouts. He puts some MacAttack Mac&Cheese in the microwave and dons headphones and takes out a video game so he won't be bored during the forty seconds it takes his lunch to cook. A truck comes around the corner and hits Grammy, sending her flying over the roof into the backyard, where luckily she lands on a trampoline. Unluckily, she bounces back over the roof, into the front yard, landing on a rosebush.
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So I may not have had a gothic childhood, but childhood makes its own gothicity.
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As a young kid I assumed that everybody was sort of on the same wavelength as I was and then I found out in a lot of small ways that that wasn't the case. It's sort of a mixed blessing. My mind is like a puppy. It goes all over. I guess writing fiction was a way of harnessing that. I could hook a puppy up to a treadmill and get something out of it.
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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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Back in 1992, I had my first story accepted by 'The New Yorker.'
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People who've written about Abraham Lincoln's writing emphasize how logical he was. His writing was a syllogistic tool. He would say, if A, then B, and he would reason through it. His late writing especially is so tight and so beautifully reasoned.
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Even the written history [of Abraham Lincoln's times] is poorly understood by most people.
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I'm fascinated with actors, and I've never quite understood the process.
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Whatever happens, we can deal with it if we admit that it's happening and so on. So to be comfortable with what is - that is a real superpower.
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I don't know about transformation. But scientifically you can say: Well, it doesn't seem to hurt anybody. Personally I've been cheered by books at really critical moments. That much I believe.
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Nostalgia is, 'Hey, remember the other mall that used to be there?'
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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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You can see a whole book as a series of creating an expectation and then delivering a skew on that expectation so it's not totally satisfied.
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