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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
A story is an organic whole, and when we say a story is good, we’re saying that it responds alertly to itself. This holds true in both directions; a brief description of a road tells us how to read the present moment but also all the past moments in the story and all those still to come.
Nathanielцитирует2 года назад
This is an important storytelling move we might call “ritual banality avoidance.” If we deny ourselves the crappo version of our story, a better version will (we aspirationally assume) present itself. To refuse to do the crappo thing is to strike a de facto blow for quality. (If nothing else, at least we haven’t done that.)
Nathanielцитирует2 года назад
Chekhov is averse to making pure saints or pure sinners. We saw this with Hanov (rich, handsome bumbler and drunk) and we see it now with Marya (struggling noble schoolteacher who has constructed her own cage through joyless complicity in her situation). This complicates things; our first-order inclination to want to understand a character as “good” or “bad” gets challenged. The result is an uptick in our attentiveness; subtly rebuffed by the story, we get, we might say, a new respect for its truthfulness. Here we’d just about settled into a simple view of Marya as a completely innocent, blameless victim of a harsh system. But then the story says, “Well, hold on; isn’t one quality of a harsh system that it deforms the people within it and makes them complicit in their own destruction?” (Which is another way of saying: “Let’s not forget that Marya is a human being, and complicated, and susceptible to error.”)

Впечатления

Andreea Elenaделится впечатлением5 месяцев назад
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    George Saunders
    A Swim in a Pond in the Rain
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  • mastsol xделится впечатлением2 года назад
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    George Saunders
    Home
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  • Rosy Antuñanoделится впечатлением2 года назад
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    George Saunders
    Lincoln in the Bardo
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