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George Saunders

George Saunders was born December 2, 1958 and raised on the south side of Chicago. In 1981 he received a B.S. in Geophysical Engineering from Colorado School of Mines in Golden, Colorado. He worked at Radian International, an environmental engineering firm in Rochester, NY as a technical writer and geophysical engineer from 1989 to 1996. He has also worked in Sumatra on an oil exploration geophysics crew, as a doorman in Beverly Hills, a roofer in Chicago, a convenience store clerk, a guitarist in a Texas country-and-western band, and a knuckle-puller in a West Texas slaughterhouse. After reading in People magazine about the Master's program at Syracuse University, he applied. Mr. Saunders received an MA with an emphasis in creative writing in 1988. His thesis advisor was Doug Unger.He has been an Assistant Professor, Syracuse University Creative Writing Program since 1997. He has also been a Visiting Writer at Vermont Studio Center, University of Georgia MayMester Program, University of Denver, University of Texas at Austin, St. Petersburg Literary Seminar (St. Petersburg, Russia, Summer 2000), Brown University, Dickinson College, Hobart & William Smith Colleges. He conducted a Guest Workshop at the Eastman School of Music, Fall 1995, and was an Adjunct Professor at Saint John Fisher College, Rochester, New York, 1990-1995; and Adjunct Professor at Siena College, Loudonville, New York in Fall 1989.He is married and has two children.His favorite charity is a project to educate Tibetan refugee children in Nepal.

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Nathanielцитирует2 года назад
What we’re adding to our TICHN cart are, let’s say, “non-normative” aspects of the story—aspects that seem to be calling attention to themselves through some sort of presentational excess.
Nathanielцитирует2 года назад
The goal is not to keep the TICHN cart empty and thus write a “perfectly normal” story. A story that approaches its ending with nothing in its TICHN cart is going to have a hard time ending spectacularly. A good story is one that, having created a pattern of excesses, notices those excesses and converts them into virtues.
Nathanielцитирует2 года назад
We might think of a story as a kind of ceremony, like the Catholic Mass, or a coronation, or a wedding. We understand the heart of the Mass to be communion, the heart of a coronation to be the moment the crown goes on, the heart of the wedding to be the exchanging of the vows. All of those other parts (the processionals, the songs, the recitations, and so on) will be felt as beautiful and necessary to the extent that they serve the heart of the ceremony.

So, one way to approach a story—to evaluate how good it is, how graceful and efficient—is to ask, “What is the heart of you, dear story?” (Or, channeling Dr. Seuss, “Why are you bothering telling me this?”)

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Andreea Elenaделится впечатлением7 месяцев назад
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    George Saunders
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