If Americans in the future were to try to send us a message about where our culture is heading, they might simply point to the fiction of George Saunders. Living in a world that’s both indelibly original and hauntingly familiar, the characters in these stories bring to life our most absurd tendencies, and allow us to see ourselves in a shocking, uproariously funny new light.
Here you find people who live and work in a simulated, theme-park cave and communicate with their loved ones via fax machine. You encounter a family happily gathered around their favorite form of entertainment, a computer-generated TV show called The Worst That Could Happen. And you hear an upbeat self-help guru sermonize about how figuring out who’s been “crapping in your oatmeal” will help raise your self-esteem. With an uncanny sense of how our culture reflects our character, Saunders mixes a dead-pan naturalism with a wicked sense of humor to reveal a picture of contemporary America that’s both feverishly strange and, through his characters’ perseverance, oddly hopeful.
Named by The New Yorker one of the Twenty Best American Fiction Writers Under Forty, George Saunders has been recognized as a visionary storyteller with a hypnotic style. Critics have placed him in the tradition of Kurt Vonnegut, Mark Twain, and Thomas Pynchon – “a savage satirist with a sentimental streak,” said The New York Times. These stories bring greater wisdom and maturity to the worldview he established with his first collection, and leave little doubt that he has found a place in modern fiction all his own.
In both his acclaimed debut,
CivilWarLand in Bad Decline, and his second collection,
Pastoralia, George Saunders imagines a near future where capitalism has run amok. Consumption and the service economy rule the earth. The Haves are grotesque beings, mutilated by their crass desires and impossible wealth. The Have Nots are no less crippled, both emotionally and physically, by their inferior status. It's a kind of
Westworld scenario, but instead of robots, the serving wenches, bellboys, and extras are real people, all of them mercilessly indentured by the free market.
Sounds like bleak stuff, doesn't it? Yet Saunders handles his characters with grace and humor. In the title story, for example, a couple occupies a squalid corner of a human zoo, where they act out a parody of caveman times, communicating in grunts and hand motions (speaking is instantly punishable by the Orwellian management) and conducting their lives during 15-minute smoke breaks. In "Winky," a born loser (really, all of Saunders's characters are born losers) visits a self-help seminar, where he's encouraged to rid himself of all those people who are "crapping in your oatmeal." Exhilarated at the prospect of dumping his simple, crazy-haired, religion-besotted sister, he returns home to the bleak discovery that he needs her as much as she needs him. The protagonist of "Sea Oak" works as a stripper in an aviation-themed restaurant and lives next to a crack house with his unemployed sisters, their babies, and a sweet old maid of an aunt. The aunt dies, and then returns from the grave--not so sweet, now, and still decomposing--with strange powers and a sobering message:
You ever been in the grave? It sucks so bad! You regret all the things you never did. You little bitches are going to have a very bad time in the grave unless you get on the stick, believe me!
The characters and situations in the rest of
Pastoralia are equally wretched. But Saunders rescues them from utter despair with a loving belief in the triumph of the human spirit: yes, things can always get worse, but worse is better than the cold dirt of the grave. And in the small space between wretchedness and death there is plenty of room for laughter, and even love.
--Tod Nelson
