The spell of words … a wonderful book in which a Booker prizewinner explains what makes classic short stories work so well.
This book is a delight, and it’s about delight too. How necessary, at our particular moment. Novelist and short story writer George Saunders has been teaching creative writing at Syracuse University in the US for the last 20 years, including a course in the 19th-century Russian short story in translation. “A few years back, after the end of one class (chalk dust hovering in the autumnal air, old-fashioned radiator clanking in the corner, marching band processing somewhere in the distance, let’s say),” he had the realisation that “some of the best moments of my life, the moments during which I’ve really felt myself offering something of value to the world, have been spent teaching that Russian class.”
Now Saunders has developed as essays some of the thoughts arising from those classes, and put them together into a book alongside the stories he’s discussing – by Chekhov, Tolstoy, Turgenev and Gogol. These essays aren’t anything like academic analysis. The questions that get asked in a reading-for-writers class are inflected differently from literary criticism – “Why did the writer do this?” rather than “How must we read this?” – even if they converge finally on the same points of appreciation, and the same questions of meaning.
Quelle: A Swim in a Pond in the Rain by George Saunders review – rules for good writing, and more
For further reading here the link for a very nice interview with George Saunders about his new short stories collection „Liberation Day“ in the „Time“: https://time.com/6221432/george-saunders-liberation-day-interview/
What was it like to write stories after your intensive study of Chekhov, Turgenev, and other Russian greats?
There was a little bit of feeling inspired, because getting inside those stories really got me energized about the form—and also made me realize there were things within the form that I hadn’t tried yet. Those Russian stories are so good at creating feelings of confusion and ambiguity on the part of the reader, and at the end, they say, “All these things are true.” They just leave you in that space, going, “What am I supposed to believe?” And the story’s going to say, “Well, all of it.” So that’s something I’m trying to do.
In Liberation Day, it feels like you’re leaning even more into ambiguity, leaving space for the reader’s interpretation.
It might have to do with the times in which it was written, because the highest form of wisdom I could find to get through the last three or four years is to say something like, “Admit everything. Admit all sides of the issue. Admit my own confusion about what’s going on politically and with COVID.” And don’t try to do what I might normally do, which is to tilt toward optimism or a sort of facile accommodation. Life is complicated. Let’s leave everything in.
https://www.pottbayer.de/2024/05/30/a-swim-in-a-pond-in-the-rain-by-george-saunders-review-rules-for-good-writing-and-more/