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.
George SaundersRead
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.
Interpretation
The quote reflects the impact of television shows on childhood imagination, likening their significance to ancient myths.
George Saunders draws a parallel between childhood experiences watching shows like 'The Brady Bunch' and 'The Partridge Family' and the significance of Greek mythology. He suggests that these TV shows shaped his understanding of the world and characters in a similar way that myths would, indicating the powerful role of media in shaping a child’s imagination and identity.
In practice
In a speech about the impact of television on youth, one might reference this quote to illustrate how shows shape childhood perceptions.
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 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.
Down in the city are the nice houses and the so-so houses and the lovers making out in dark yards and the babies crying for their moms, and I wonder if, other than Jesus, has this ever happened before. Maybe it happens all the time. Maybe there's angry dead all over, hiding in rooms, covered with blankets, bossing around their scared, embarrassed relatives. Because how would we know?
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.
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.
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.
I want my little corner of the world where I get to make games where you're not trying to win or lose; you're not trying to get a higher score - you are having unbelievable amounts of fun as you learn about yourself and the world. That's what games can do!
No one can write like Vallejo and not sound like a fraud. He's just too much himself and not you.
I didn't start off as a journalist; I started off as a poet. My ambition was to practise poetry. Then I found journalism, but that other voice never fled from me.
Music expresses feeling and thought, without language; it was below and before speech, and it is above and beyond all words.
The writing gets done away from the keyboard and away from the studio in my head, in solitude. And then I come in and hopefully have something, then I wrestle with sounds and picture all day long. But the ideas usually come from a more obscure place, like a conversation with a director, a still somebody shows you, or whatever.
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
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