George Saunders Thinking Quotations

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.

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.

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.

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.

Sometimes I think fiction exists to model the way God might think of us, if God had the time and inclination to do so.

I started out in engineering. I was a geophysical engineer. Throughout the course of my life I've done a lot of strange jobs, and the effect has been to make me think a little more skeptically about our capitalist society.

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.

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?

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.

If you really think back to the great writers, there's a lot of happiness in Tolstoy; there's a lot of love, there's childbirth, and there's dances. And likewise in Shakespeare and even Cervantes, there's a lot of celebrations of the positive manifestations of life. Technically, I found it harder to do, so that's kind of a good late-life challenge - without getting sentimental or chirpy.

As for "toothy kindness" - I think all traditions are full of this sort of tough kindness. If someone is on a wrong or dull path, and someone else startles them into awareness of that, then that's a blessing. And the method by which the startle is obtained might be anger, or satire, or an intentionally applied indifference. But that is, of course, a fine line.

I think that fiction has a part to play in urging us, as a species, toward compassion,

I think that's one of the maybe under-discussed aspects of process - the difference between a good writing day and a bad one is the quality of the split-second decisions you made.

I think that tri [to Ram Bahadur Bomjon] was the first time I'd even seen something that made me think, or really feel: "Ah, I don't know what's really going on in the world - I think I do, and it feels like I do, but whatever is really going on is, de facto, beyond the scope of my comprehension - the best we can do is look for hints." I'd known that intellectually before but that was the first time I really believed it viscerally.

Some of our writers are starting to incorporate elements of social media, etc. in the work itself, which is all for the good, I think - finding new ways of being poetic.

I think this is the other big issue that is not going away: Do we really believe that bit in the Constitution or not? I think we do.

I think the biggest single issue is income inequity and what this is doing to the good old "American dream." This and corporatism - this delusional idea that "shareholder value" outweighs everything else.

The demographics are changing - and so what? Citizenship is a question of certain agreed-upon values and that is that. Do we believe that? I think at heart we do.

The artist’s job, I think, is to be a conduit for mystery.

I don't think much new ever happens. Most of us spend our days the same way people spent their days in the year 1000: walking around smiling, trying to earn enough to eat, while neurotically doing these little self-proofs in our head about how much better we are than these other slobs, while simultaneously, in another part of our brain, secretly feeling woefully inadequate to these smarter, more beautiful people.

In art, and maybe just in general, the idea is to be able to be really comfortable with contradictory ideas. In other words, wisdom might be, seem to be, two contradictory ideas both expressed at their highest level and just let to sit in the same cage sort of, vibrating. So, I think as a writer, I'm really never sure of what I really believe.

The main thing a childhood in the Church did for me, I think, was set up the universe as a moral system. Once you've seen it that way, it always seems that way.

A sort of fearlessness - the notion that a person could be comfortable with (even interested in) whatever arises. I sure can't do it, but I think all of us have had little glimpse of that power, often when we are really actively loving someone or something and feel that little eradication of self that happens when we are engaged in feeling protective or especially fond of someone else. I associate that feeling with a corresponding clarity of purpose and a disappearance of confusion.

I came away believing and really deeply troubled by is the extent to which you can have two well-intentioned people talking in a friendly spirit and you get to a point where the two mutual mythologies just don't intersect. So kind of the next piece I'd like to write or think about is how did this left-right divide get so weird and codified.

I think when you see [Donald] Trump in person, my reaction is you kind of enjoy it. It's kind of an enjoyable night out.

I think something that I can't name about our media has made us move away from that kind of specificity and that kind of curiosity.

A person supporting [Donald]Trump likes Trump. And I think they would say the same about me.

Whenever you talk about writing I think you have to remember that it all has a big question mark over it - every word has a big question mark over it.

I always cheerfully say, "Well, you know, the species is adapting, and whatever it needs to do, it'll do," but I do think it's maybe a little bit alarming. Everybody knows that one thing we really have to do is to be more wherever we are, more present, that's just kind of a commonplace. And the whole mobile phone thing is completely 100% the opposite - to never be where you are because you can always be somewhere else; and yet it's so fun and addictive.

The writer has to make pleasure for the reader - which, I think, is done by taking one's character's seriously and taking one's readers seriously -don't condescend or try to be tricky. Be a friend to your reader - I'd say that's a pretty good first step.

I have been married to my wife, Paula, for 25 years. We have wonderful kids. Things are - it's been a really rich life, so I started thinking, is there a way to get valence a little more into the stories, the idea that, yes, things can go wrong, but also they can go right.

I love the idea that more people would read short fiction. I think it's such a humanizing form. It softens the boundaries between people.

I'm not thinking much about overall themes or preoccupations or anything like that. Instead I'm just trusting that, if I'm working hard, various notions and riffs and motifs and so on are very naturally suffusing the stories and the resulting book.

I think even like Saddam Hussein or Hitler would wake up and say, "I think it's going to be a good day. I'm gonna do some really important work." And given their definition of good, they went out and did horrible things.

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."

I think the trick of being a writer is to basically put your cards out there all the time and be willing to be as in the dark about what happens next as your reader would be at that time.

I think kindness is a sort of gateway virtue - having that simple aspiration can get you into deep water very quickly - in a good way.

I think it's basically the same game, although with a public figure like [Donald] Trump I think you are bound to consider the public persona rather than the private one. At least that was the case with that piece of writing.

I sometimes imagine a great writer as a sort of God-surrogate: the writer is doing his or her human-best to emulate what God might think of is, if God was inclined to observe some human beings and present their activities in the form of a narrative.