A Quote by Zadie Smith

For me, George Saunders novel [Lincoln in the Bardo] is about a problem of pain. — © Zadie Smith
For me, George Saunders novel [Lincoln in the Bardo] is about a problem of pain.
George Saunders's 'Lincoln in the Bardo' is a hands-down masterpiece - the subject of Abraham Lincoln and the genius of this author is a perfect union.
Something in me was changed by Lincoln in the Bardo, and the great sublime/grotesque risk of [George Saunders'] ghosts was a part of it.
From the beginning [of the Lincoln in the Bardo], I actually had it in mind not to write a novel. I'd kind of gotten past that point where I felt bad for never having written a novel, even to where I felt really good about it, like I was a real purist.
I don't have one thing I go back to, but we listen to a lot of music in the bus, and we always get a few songs or a few records that end up being themes for the tour. On tour I read all of George Saunders' short stories and all of Alice Munro's short stories. George Saunders is who has taught me about this question about whether or not love is possible in the contemporary world, with all of its simulations and all of its pop and divergences and all of the confusion and distraction. Whether or not contemporary reality is actually hospitable to love.
What was fun for me with this book [Lincoln in the Bardo] was to start out with the principle that went, "We're going to fight every day to make this not a novel; make it too short to be a novel." And then with that principle in place, the book sort of starts to say, "Okay, but I really need this. I really need some historical nuggets." And you're like, "All right, but keep it under control."
I know a lot of people who read and think: "George [Saunders] is so much fun." There's no denying you're fun to read, but as a writer I think of [George Saunders] as, in fact, not a fun and freewheeling type but really an obsessive control artist.
One of the revelations in that book [Lincoln in the Bardo] for me was this idea about citizenship. Even that word - citizenship - for someone my age, it makes me cringe. But, to me, the political space we're in now argues for a reboot of fairly simple ideas and the examination of the way that Americans have not been living into them.
While writing this book [Lincoln in the Bardo], [idea of inclusion] occurred to me, you either believe in the Constitution or you don't. If you do, it's intense in what it wants of us.
[George Saunders] is very precise about what he is doing. There isn't a thing left to chance.
I would say one thing writing this book [Lincoln in the Bardo] did for me was underscore the fact that this issue [all men are created equal] has never been properly addressed and it hasn't gone away.
I have a natural tendency to feel well about the world, I suppose, one way or another. But then there is the problem of pain. There are things like [Abraham] Lincoln's beloved little boy dying.
George Saunders is a complete genius.
What interests me in [Lincoln in the Bardo] is a slight perverse balance between the sublime and the grotesque. Like you could have landed only on the sublime. But my argument is that the sublime couldn't exist without this other half.
As the writer of this book [Lincoln in the Bardo], what I loved was the feeling of having so many surprises come at the end that I hadn't really planned or planted.
'Pastoralia' by George Saunders is one of my favorite novels.
[Lincoln in the Bardo] is not a long book. And that meant I could obsess over it and live in it both backwards and forwards and hyper-control everything.
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