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.
George Saunders Quotes
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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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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.
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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?
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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.
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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.
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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.
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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).
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I turned 54 this year and I find myself feeling like I’m in a bit of a race to get down on paper the way I really feel about life – or the way it has presented to me. And because it has presented to me very beautifully, this is hard. It is technically very hard to show positive manifestations.
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Birth: | 2nd December, 1958 |
Nationality: | American |
Profession: | Essayist, Journalist, Professor, Writer |
George Saunders was born in Amarillo, Texas, USA. He is an American short story writer, journalist, essayist, and professor. His writing has appeared in The New Yorker, Harper's, McSweeney's and GQ. He also contributed a weekly column, American Psyche, to the weekend magazine of The Guardian until October 2008. He received a B.S. in geophysical engineering from Colorado School of Mines in 1981. He was awarded an M.A. in creative writing from Syracuse University in 1988. since 1997, he serves as a professor of creative writing at Syracuse University. He has written several short stories collection including CivilWarLand in Bad Decline, Pastoralia, In Persuasion Nation, and Tenth of December. He has written The Very Persistent Gappers of Frip( children's book) and The Brief and Frightening Reign of Phil(novella). He has written The Braindead Megaphone(essay collection). He won the National Magazine Award, World Fantasy Award, PEN/Malamud Award, Story Prize, and Folio Prize. In 2006, he received a MacArthur Fellowship. In 2013, he was a finalist for the National Book Award.
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