What was fun for me with this book [Lincoln in the Bardo] was to start out with the principle that went, "We're going to fight every day to make this not a novel; make it too short to be a novel." And then with that principle in place, the book sort of starts to say, "Okay, but I really need this. I really need some historical nuggets." And you're like, "All right, but keep it under control."
George SaundersI think kindness is a sort of gateway virtue - having that simple aspiration can get you into deep water very quickly - in a good way.
George SaundersI used to joke about this but I've recently realized that I really believe it: I spent many years training myself to write very slowly for pretty good money. So the idea of writing really quickly for free offends me.
George SaundersBeing in church so often, spending those hours sitting in front of a highly symbolic array of objects, hearing those beautiful texts - it teaches a kid that there are important truths beyond the literal ones, and that we have ways to access those truths that are, let's say, super-rational.
George SaundersThe writer, in order to proceed, is theoretically trying to predict where his complex skein of language and image has left his reader, who he has likely never met and who is actually thousands of readers.
George SaundersThe beginning [of Lincoln in the Bardo] is strange, and I did a lot of work calibrating that so that a reader with a certain level of patience would get through it and in the nick of time start to figure out what was going on. In a short book, you can do that.
George SaundersThere's also a way that you have of being precise but also allusive, that works well for me - it's something about the open-hearted way you frame your queries. Instead of feeling daunted or discouraged, I feel excited to give whatever it is a try. This takes a lot of editorial wisdom and confidence - to know just how to get the writer to take that extra chance.
George Saunders