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
You know, you can talk about race, you can talk about sex, you can talk about your biopsy. But when you get into class, people kind of clench up.
Interpretation
The quote reflects the difficulty of discussing class and economic status compared to other sensitive topics.
In this quote, George Saunders highlights the discomfort and tension that often arises when discussing class differences, suggesting that while people may freely talk about race, sex, or health issues, conversations about class tend to provoke a more defensive and reserved reaction. This points to the societal stigma and sensitivity surrounding issues of economic disparity and social mobility, reflecting deeper cultural challenges in addressing inequality.
In practice
Using this quote in a panel discussion on socioeconomic issues to illustrate societal attitudes.
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.
Before you come alive, life is nothing; it 's up to you to give it a meaning, and value is nothing else but the meaning that you choose.
Even when repressed, inequality grows; only the man who is below the average in economic ability desires equality; those who are conscious of superior ability desire freedom, and in the end superior ability has its way.
The exile is a singular, whereas refugees tend to be thought of in the mass ... What is implied in these nuances of social standing is the respect we pay to choice. The exile appears to have made a decision, while the refugee is the very image of helplessness.
I wonder now whether inner coldness and desolation may not be the pre-condition for making the world believe, by a kind of fraudulent showmanship, that one's own wretched heart is still aglow.
The world can therefore seize the opportunity (the Persian Gulf crisis) to fulfill the long held promise of a New World Order where diverse nations are drawn together in common cause to achieve the universal aspirations of mankind.
Genocide, after all, is an exercise in community building.
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