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A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writ

Description: A Swim in a Pond in the Rain by George Saunders NEW YORK TIMES BESTSELLER • From the Booker Prize–winning author of Lincoln in the Bardo and Tenth of December comes a literary master class on what makes great stories work and what they can tell us about ourselves—and our world today.LONGLISTED FOR THE PEN/DIAMONSTEIN-SPIELVOGEL AWARD • ONE OF THE BEST BOOKS OF THE YEAR: The Washington Post, NPR, Time, San Francisco Chronicle, Esquire, Milwaukee Journal Sentinel, Town & Country, The Rumpus, Electric Lit, Thrillist, BookPage • "[A] worship song to writers and readers."—Oprah DailyFor the last twenty years, George Saunders has been teaching a class on the Russian short story to his MFA students at Syracuse University. In A Swim in a Pond in the Rain, he shares a version of that class with us, offering some of what he and his students have discovered together over the years. Paired with iconic short stories by Chekhov, Turgenev, Tolstoy, and Gogol, the seven essays in this book are intended for anyone interested in how fiction works and why its more relevant than ever in these turbulent times.In his introduction, Saunders writes, "Were going to enter seven fastidiously constructed scale models of the world, made for a specific purpose that our time maybe doesnt fully endorse but that these writers accepted implicitly as the aim of art—namely, to ask the big questions, questions like, How are we supposed to be living down here? What were we put here to accomplish? What should we value? What is truth, anyway, and how might we recognize it?" He approaches the stories technically yet accessibly, and through them explains how narrative functions; why we stay immersed in a story and why we resist it; and the bedrock virtues a writer must foster. The process of writing, Saunders reminds us, is a technical craft, but also a way of training oneself to see the world with new openness and curiosity.A Swim in a Pond in the Rain is a deep exploration not just of how great writing works but of how the mind itself works while reading, and of how the reading and writing of stories make genuine connection possible. FORMAT Paperback LANGUAGE English CONDITION Brand New Author Biography George Saunders is the #1 New York Times bestselling author of ten books, including Lincoln in the Bardo, which won the Man Booker Prize; Congratulations, by the way; Tenth of December, a finalist for the National Book Award; The Braindead Megaphone; and the critically acclaimed short story collections CivilWarLand in Bad Decline, Pastoralia, and In Persuasion Nation. He teaches in the creative writing program at Syracuse University. Review "Saunders is a gentle giant in American letters whose fiction frequently champions the downtrodden and satirizes a society rife with economic inequality. . . . [A Swim in a Pond in the Rain is] an analysis of classic Russian fiction that doubles as an introductory seminar on the mechanics of short stories—namely, how do they work and why? . . . Why does fiction matter now? The answer, Saunders finds, lies in understanding reading to be a kind of life skill—for understanding our position in the world, for arbitrating truth."—The Wall Street Journal"This book is a delight, and its about delight too. . . . [A Swim in a Pond in the Rain is] very different from just another how to creative writing manual, or just another critical essay. . . . One of the pleasures of this book is feeling [Saunderss] own thinking move backwards and forwards, between the writer dissecting practice and the reader entering in through the spell of the words, to dwell inside the story."—The Guardian"Saunders discusses each storys structure, energy flow, the questions it raises, and how "meaning is made," embracing both technical finesse and the mysteries at creations core. . . . An invaluable and uniquely pleasurable master course and a generous celebration of reading, writing, and all the ways literature enriches our lives."—Booklist (starred review)"A master of contemporary fiction joyously assesses some of the best of the nineteenth century."—Kirkus Reviews"[A] true gift to writers and serious readers . . . With infectious enthusiasm and generosity of spirit, Saunders delves into seven stories that he calls the seven fastidiously constructed scale models of the world. . . . While the genesis of A Swim in a Pond in the Rain can be found in the creative writing classroom—and writers at any level of their careers will glean priceless pearls from nearly every page—the genius of Saunderss book, and his clear intention in offering it up, is to elucidate literature for the engaged reader, deepening the reading experience. It is also a blueprint for a greater engagement with humanity."—BookPage"Superb mix of instruction and literary criticism . . . Saunderss generous teachings—and the classics theyre based on—are sure to please."—Publishers Weekly (starred review)"The subtitle to this exhilarating and erudite work of non-fiction by the Booker Prize­winning author of Lincoln in the Bardo and Tenth of December is: "In Which Four Russians Give a Master Class on Writing, Reading, and Life." In it, one of the greatest short story writers of our time draws on his own love of Chekhov, Turgenev, Tolstoy and Gogol—and on his joy in teaching them to his MFA students at Syracuse University. The result is a worship song to writers and readers."—O: The Oprah Magazine Review Quote "Saunders is a gentle giant in American letters whose fiction frequently champions the downtrodden and satirizes a society rife with economic inequality. . . . [ A Swim in a Pond in the Rain is] an analysis of classic Russian fiction that doubles as an introductory seminar on the mechanics of short stories--namely, how do they work and why? . . . Why does fiction matter now? The answer, Saunders finds, lies in understanding reading to be a kind of life skill--for understanding our position in the world, for arbitrating truth." -- The Wall Street Journal "This book is a delight, and its about delight too. . . . [ A Swim in a Pond in the Rain is] very different from just another how to creative writing manual, or just another critical essay. . . . One of the pleasures of this book is feeling [Saunderss] own thinking move backwards and forwards, between the writer dissecting practice and the reader entering in through the spell of the words, to dwell inside the story." --The Guardian "Saunders discusses each storys structure, energy flow, the questions it raises, and how "meaning is made," embracing both technical finesse and the mysteries at creations core. . . . An invaluable and uniquely pleasurable master course and a generous celebration of reading, writing, and all the ways literature enriches our lives." -- Booklist (starred review) "A master of contemporary fiction joyously assesses some of the best of the nineteenth century." -- Kirkus Reviews "[A] true gift to writers and serious readers . . . With infectious enthusiasm and generosity of spirit, Saunders delves into seven stories that he calls the seven fastidiously constructed scale models of the world. . . . While the genesis of A Swim in a Pond in the Rain can be found in the creative writing classroom--and writers at any level of their careers will glean priceless pearls from nearly every page--the genius of Saunderss book, and his clear intention in offering it up, is to elucidate literature for the engaged reader, deepening the reading experience. It is also a blueprint for a greater engagement with humanity." -- BookPage "Superb mix of instruction and literary criticism . . . Saunderss generous teachings--and the classics theyre based on--are sure to please." -- Publishers Weekly (starred review) "The subtitle to this exhilarating and erudite work of non-fiction by the Booker Prize Excerpt from Book A Page at a Time Thoughts on "In the Cart" Years ago, on the phone with Bill Buford, then fiction editor of The New Yorker, enduring a series of painful edits, feeling a little insecure, I went fishing for a compliment: "But what do you like about the story?" I whined. There was a long pause at the other end. And Bill said this: "Well, I read a line. And I like it . . . enough to read the next." And that was it: his entire short story aesthetic and presumably that of the magazine. And its perfect. A story is a linear-temporal phenomenon. It proceeds, and charms us (or doesnt), a line at a time. We have to keep being pulled into a story in order for it to do anything to us. Ive taken a lot of comfort in this idea over the years. I dont need a big theory about fiction to write it. I dont have to worry about anything but: Would a reasonable person, reading line four, get enough of a jolt to go on to line five? Why do we keep reading a story? Because we want to. Why do we want to? Thats the million-dollar question: What makes a reader keep reading? Are there laws of fiction, as there are laws of physics? Do some things just work better than others? What forges the bond between reader and writer and what breaks it? Well, how would we know? One way would be to track our mind as it moves from line to line. A story (any story, every story) makes its meaning at speed, a small structural pulse at a time. We read a bit of text and a set of expectations arises. "A man stood on the roof of a seventy-story building." Arent you already kind of expecting him to jump, fall, or be pushed off? Youll be pleased if the story takes that expectation into account, but not pleased if it addresses it too neatly. We could understand a story as simply a series of such expectation/resolution moments. For our first story, "In the Cart," by Anton Chekhov, Im going to propose a one-time exception to the "basic drill" I just laid out in the introduction and suggest that we approach the story by way of an exercise I use at Syracuse. Heres how it works. Ill give you the story a page at a time. You read that page. Afterward, well take stock of where we find ourselves. What has that page done to us? What do we know, having read the page, that we didnt know before? How has our understanding of the story changed? What are we expecting to happen next? If we want to keep reading, why do we? Before we start, lets note, rather obviously, that, at this moment, as regards "In the Cart," your mind is a perfect blank. In the Cart They drove out of the town at half past eight in the morning. The paved road was dry, a splendid April sun was shedding warmth, but there was still snow in the ditches and in the woods. Winter, evil, dark, long, had ended so recently; spring had arrived suddenly; but neither the warmth nor the languid, transparent woods, warmed by the breath of spring, nor the black flocks flying in the fields over huge puddles that were like lakes, nor this marvelous, immeasurably deep sky, into which it seemed that one would plunge with such joy, offered anything new and interesting to Marya Vasilyevna, who was sitting in the cart. She had been teaching school for thirteen years, and in the course of all those years she had gone to the town for her salary countless times; and whether it was spring, as now, or a rainy autumn evening, or winter, it was all the same to her, and what she always, invariably, longed for was to reach her destination as soon as possible. She felt as though she had been living in these parts for a long, long time, for a hundred years, and it seemed to her that she knew every stone, every tree on the road from the town to her school. Here was her past and her present, and she could imagine no other future than the school, the road to the town and back, and again the school and again the road. * * * Now your mind is not so blank. How has the state of your mind changed? If we were sitting together in a classroom, which I wish we were, you could tell me. Instead, Ill ask you to sit quietly a bit and compare those two states of mind: the blank, receptive state your mind was in before you started to read and the one its in now. Taking your time, answer these questions: 1. Look away from the page and summarize for me what you know so far. Try to do it in one or two sentences. 2. What are you curious about? 3. Where do you think the story is headed? Whatever you answered, thats what Chekhov now has to work with. He has, already, with this first page, caused certain expectations and questions to arise. Youll feel the rest of the story to be meaningful and coherent to the extent that it responds to these (or "takes them into account" or "exploits them"). In the first pulse of a story, the writer is like a juggler, throwing bowling pins into the air. The rest of the story is the catching of those pins. At any point in the story, certain pins are up there and we can feel them. Wed better feel them. If not, the story has nothing out of which to make its meaning. We might say that whats happened over the course of this page is that the path the story is on has narrowed. The possibilities were infinite before you read it (it could have been about anything) but now it has become, slightly, "about" something. What is it about, for you, so far? What a story is "about" is to be found in the curiosity it creates in us, which is a form of caring. So: What do you care about in this story, so far? Its Marya. Now: What is the flavor of that caring? How, and where, were you made to care about her? In the first line, we learn that some unidentified "they" are driving out of some town, early in the morning. "The paved road was dry, a splendid April sun was shedding warmth, but there was still snow in the ditches and in the woods. Winter, evil, dark, long, had ended so recently; spring had arrived suddenly; but neither the warmth nor the languid transparent woods, warmed by the breath of spring, nor the black flocks flying in the fields . . ." Ive bolded the two appearances of the word "but" above (and yes, I phrase it that way to avoid saying, "I bolded the two buts above") to underscore that were looking at two iterations of the same pattern: "The conditions of happiness are present, but happiness is not." Its sunny, but theres still snow on the ground. Winter has ended, but this offers nothing new or interesting to . . . and we wait to hear who it is, taking no solace in the end of this long Russian winter. Even before theres a person in the story, theres an implied tension between two elements of the narrative voice, one telling us that things are lovely (the sky is "marvelous" and "immeasurably deep") and another resisting the general loveliness. (It would be, already, a different-feeling story, had it started: "The paved road was dry, a splendid April sun was shedding warmth, and although there was still snow in the ditches and the woods, it just didnt matter: winter, evil, dark, long, had, at long last, ended.") Halfway through the second paragraph, we find that the resisting element within the narrative voice belongs to one Marya Vasilyevna, who, failing to be moved by springtime, appears in the cart at the sound of her name. Of all of the people in the world he might have put in this cart, Chekhov has chosen an unhappy woman resisting the charms of springtime. This could have been a story about a happy woman (newly engaged, say, or just given a clean bill of health, or a woman just naturally happy), but Chekhov elected to make Marya unhappy. Then he made her unhappy in a particular flavor, for particular reasons: shes been teaching school for thirteen years; has done this trip to town "countless times" and is sick of it; feels shes been living in "these parts" for a hundred years; knows every stone and tree on the way. Worst of all, she can imagine no other future for herself. This could have been a story about a person unhappy because shes been scorned in love, or because shes just received a fatal diagnosis, or because shes been unhappy since the moment she was born. But Chekhov chose to make Marya a person unhappy because of the monotony of her life. Out of the mist of every-story-that-could-possibly-be, a particular woman has started to emerge. We might say that the three paragraphs weve just read were in service of increased specification. Characterization, so called, results from just such increasing specification. The writer asks, "Which particular person is this, anyway?" and answers with a series of facts that have the effect of creating a narrowing path: ruling out certain possibilities, urging others forward. As a particular person gets made, the potential for what we call "plot" increases. (Although thats a word I dont like much--lets replace it with "meaningful action.") As a particular person gets made, the potential for meaningful action increases. Details ISBN1984856030 Author George Saunders Short Title A Swim in a Pond in the Rain Pages 432 Language English Year 2022 ISBN-10 1984856030 ISBN-13 9781984856036 Format Paperback Publication Date 2022-04-12 Imprint Random House Trade Paperbacks Subtitle In Which Four Russians Give a Master Class on Writing, Reading, and Life Publisher Random House USA Inc Place of Publication New York Country of Publication United States AU Release Date 2022-04-12 NZ Release Date 2022-04-12 US Release Date 2022-04-12 UK Release Date 2022-04-12 Illustrations 2 ILLUSTRATIONS DEWEY 891.708 Audience General We've got this At The Nile, if you're looking for it, we've got it. With fast shipping, low prices, friendly service and well over a million items - you're bound to find what you want, at a price you'll love! TheNile_Item_ID:134979996;

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A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writ

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Book Title: A Swim in a Pond in the Rain

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