George Saunders
The scariest thought in the world is that someday I'll wake up and realize I've been sleepwalking through my life: underappreciating the people I love, making the same hurtful mistakes over and over, a slave to neuroses, fear, and the habitual.Collection: Fear
A John Updike is a once-in-a-generation phenomenon, if that generation is lucky: so comfortable in so many genres, the same lively, generous intelligence suffusing all he did.Collection: Intelligence
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.Collection: Birthday
Developing our sympathetic compassion is not only possible but the only reason for us to be here on earth.Collection: Sympathy
The word 'funny' is a bit like the word 'love' - we don't have enough words to describe the many varieties.Collection: Funny
Irony is just honesty with the volume cranked up.
Fiction is a kind of compassion-generating machine that saves us from sloth. Is life kind or cruel? Yes, Literature answers. Are people good or bad? You bet, says Literature. But unlike other systems of knowing, Literature declines to eradicate one truth in favor of another.
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.
The best thing that ever happened to me is that nothing happened in writing. I ended up working for engineering companies, and that's where I found my material, in the everyday struggle between capitalism and grace. Being broke and tired, you don't come home your best self.
When you read a short story, you come out a little more aware and a little more in love with the world around you. What I want is to have the reader come out just 6 percent more awake to the world.
We try, we fail, we posture, we aspire, we pontificate - and then we age, shrink, die, and vanish.
Back in 1992, I had my first story accepted by 'The New Yorker.'
When I was a kid, I took 'The Brady Bunch' and 'The Partridge Family' very seriously. It was a world to me in the same way that the Greek myths would have been had I read them. You know, Marcia is Athena and Mr. Brady is Zeus.
I'm always aware of writing around things I can't do, and I've come to think that that's actually what 'style' is - an avoidance of your deficiencies.
The chances of a person breaking through their own habits and sloth and limited mind to actually write something that gets out there and matters to people are slim.
It would be so weird if we knew just as much as we needed to know to answer all the questions of the universe. Wouldn't that be freaky? Whereas the probability is high that there is a vast reality that we have no way to perceive, that's actually bearing down on us now and influencing everything.
Stories, as much as we like to talk about them, retrospectively, as emanations of theme or worldview or intention, occur primarily as technical objects when they're being written. Or at least they do for me. They're the result of thousands of decisions made at speed during revision.
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.
I wasted a lot of years working on my writing and very grandly saying, 'And now... My Novel!,' which would soon be reduced to a short story, then to a paragraph.
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.
Character is that sum total of moments we can't explain.
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.
My habit would have been to veer towards the dark - to prove I was something; edgy, or maybe to prove that I was cognisant of the dark side. Now, with age and confidence, I can say, yeah, that's true, but I am cognisant of the fact that people can do things well. And can be more loving than you expect.
More and more these days what I find myself doing in my stories is making a representation of goodness and a representation of evil and then having those two run at each other full-speed, like a couple of PeeWee football players, to see what happens. Who stays standing? Whose helmet goes flying off?
There might be a different model for a literary community that's quicker, more real-time, and involves more spontaneity.
It seems to me a worthy goal: try to create a representation of consciousness that's durable and truthful, i.e., that accounts, somewhat, for all the strange, tiny, hard-to-articulate, instantaneous, unwilled things that actually go on in our minds in the course of a given day, or even a given moment.
I think fiction isn't so good at being for or against things in general - the rhetorical argument a short story can make is only actualized by the accretion of particular details, and the specificity of these details renders whatever conclusions the story reaches invalid for wider application.
To me, the writer's main job is to just make the story unscroll in such a way that the reader is snared - she's right there, seeing things happen and caring about them. And if you dedicate yourself to this job, the meanings more or less take care of themselves. That's the theory, anyway.
It's funny with fiction - once you cut something, it hasn't happened anymore.
We have that illusion that we are 'deciding' what to make a character do, in order to 'convey our message' or something like that. But, at least in my experience, you are often more like a river-rafting guide who's been paid a bonus to purposely steer your clients into the roughest possible water.
I'm finding, as I get older, that I'm not much of a believer in redemption. I mean, I believe in redemption in real life - redemption does happen, and it's cool when it does - but I find myself getting leery of my desire for it in stories (especially my own).
I was a big and un-ironic fan of Dear Abby when I was a kid in Chicago. I think I sort of internalized her. So I have this inner Abby: cranky, proper, folksy yet scathing, with a beehive hairdo. But that's my issue.
The cool parts - the parts that have won Dubai its reputation as 'the Vegas of the Middle East' or 'the Venice of the Middle East' or 'the Disney World of the Middle East, if Disney World were the size of San Francisco and out in a desert' - have been built in the last ten years.
The universal human laws - need, love for the beloved, fear, hunger, periodic exaltation, the kindness that rises up naturally in the absence of hunger/fear/pain - are constant, predictable, reliable, universal, and are merely ornamented with the details of local culture.
What a powerful thing to know: That one's own desires are mappable onto strangers; that what one finds in oneself will most certainly be found in The Other.
Chekhov - shall I be blunt? - is the greatest short story writer who ever lived.
Sometimes I think fiction exists to model the way God might think of us, if God had the time and inclination to do so.
The mind is a machine that is constantly asking: What would I prefer? Close your eyes, refuse to move, and watch what your mind does. What it does is become discontent with that-which-is. A desire arises, you satisfy that desire, and another arises in its place.
When I write I know that I'm going to have to produce 40 percent more than I need.
That for me was the big turning point in my artistic life, when my wife and I had our kids. The world got infused with morality again. Every person in the world should theoretically be loved as much as I love my daughters.
If death is in the room, it's pretty interesting. But I would also say that I'm interested in getting myself to believe that it's going to happen to me. I'm interested in it, because if you're not, you're nuts. It's really de facto what we're here to find out about.
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.
I often think about image, and image is something that - but in truth, the real artistic process, as I've understood it, is 95 percent intuitive, like seat-of-the-pants, at-the-moment decisions that you can't even explain, you know?
Early on, a story's meaning and rationale seem pretty obvious, but then, as I write it, I realize that I know the meaning/rationale too well, which means that the reader will also know it - and so things have to be ramped up.
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.
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.
I've had the thought that a person's 'artistic vision' is really just the cumulative combination of whatever particular stances he has sincerely occupied during his creative life - even if some of those might appear contradictory.
I still believe that capitalism is too harsh and I believe that, even within that, there is a lot of satisfaction and beauty if you happen to be one of the lucky ones, although that doesn't eradicate the reality of the suffering. It's all true at once, kind of humming and sublime.
I could actually care less about the poor. We have some living near us, and pee-yew. They are always coming and going to their three or four jobs at all hours of the day and night. Annoying!
That seems to be the definition of 'novel' for me: a story that hasn't yet discovered a way to be brief.