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Pastoralia by George Saunders

Pastoralia (original 2000; edition 2001)

by George Saunders

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1,523224,841 (4.03)51
Authors:George Saunders
Info:Riverhead Trade (2001), Paperback, 208 pages
Collections:Your library
Tags:short stories

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Pastoralia by George Saunders (2000)

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Showing 1-5 of 22 (next | show all)
Pastoralia George Saunders
This is a collection of short stories set in America each one featuring someone who really needs to change their life and make a difference.
Unfortunately there were only 2 stories in the whole collection I actually liked Pastoralia and Sea Oak and even those didnt blow me away.
Of all the stories Pastoralia was the one that stuck with me and the one that made me chuckle most with the ridiculous messages from management to the cave people and the other show attractions.
All in all I could have lived without reading this. ( )
  BookWormM | Jan 15, 2016 |
Saunders can be brilliantly odd with his warped versions of the modern world ... but when the setting is more realistic, the stories become rather predictable. He's an unswerving optimist when it comes to human nature, so you always know the protagonist is going to choose the 'right' path. Nevertheless, when he's good, he's very, very good. ( )
  alexrichman | Jul 12, 2015 |
Saunders seems only interested in writing about two types of characters. The first is exemplified by the main character in the novella, Pastoralia, a decent sad sack stuck in a humiliating and horrible yet amusing hell. He is playing a caveman in a live exhibit in a sketchy historical theme park in order to support his young son who is suffering a rare and debilitating disease. Things go from bad to worse for the noble sad sack, who does his best to cover for an even more pathetic co-worker/fellow actor who refuses to act the part of cavewoman 24/7. His moral stand provides him little redemption. His son only gets worse. The corporate overlords running the show turn up the heat in hell until it is white hot. End of story.

The second Saunders protagonist is even more pathetic and pitiable but without the decency. We see this character on display in the Firpo and sad Barber stories. And they are on the same predictable downward slide into more profound layers of misery. But they are without even a sliver of hope for redemption. They don't even have a clue as to why nothing for them is working. They are prideful as they are torn apart. Which makes for high humor in Saundersland.

Saunders has a clue. He sees the problem. He sees all. His characters are the exhibits in Pastoralia's sad human zoo and we are the superior tourists enjoying our tut-tuts and hand over the mouth laughter at their ironic and slapstick suffering. ( )
  byebyelibrary | Apr 11, 2015 |
Remember when I reviewed [b:Tenth of December: Stories|13641208|Tenth of December Stories|George Saunders|http://d.gr-assets.com/books/1349967540s/13641208.jpg|19256026]?

Just read that review again. And subtract a star for some arbitrary reason. ( )
  zenslave | Jan 13, 2015 |
Stories about people trapped by class and culture (but not race-- they all seem to be white). Frequent technique is the use of stream of consciousness day dreaming without the irrepressible optimism of Leopold Bloom in Ulysses. An unusual angle in the Sea Oak story—a personal favorite—recalls the Shinto belief that the spirits of ancestors and relatives function as household gods, protecting their loved ones; in this instance the revenant is literally disembodied. There is also the suggestion that mistakes made in life are the source of torment in the afterlife, and illusions—those daydreams—demean us in this life—Buddhist perhaps? On the positive side, the potential for enlightenment seems available at the end of stories like Winky and The Falls, contrasting with the illusory repetition in The Barber’s Unhappiness. Unfortunately, the novella Pastoralia comes across as heavy handed; Saunders can generate the language of corporate culture with a little too much facility. In terms of boilerplate, the lengthy blurbs in the paperback edition have a banality that almost make them part of Saunders’ fictional theme park. ( )
  featherbear | Aug 30, 2014 |
Showing 1-5 of 22 (next | show all)
Here it is, revisited for our entertainment in George Saunders’ second collection of satirical short stories, the new-look land of the free: themed up, dumbed down and laid out ready for embalming. Saunders has been compared to Pynchon and Vonnegut, yet the disgust that fuels his world recalls Nathaniel West. He shares too West’s taste for grotesquery yet these stories are raised above the level of mordant masterpieces by an extra dimension: hope.
Saunders specialises in giving losers - the ugly, the weak, the self-absorbed - a flicker of appeal or delusional hope. We meet them in motivational seminars, drivers' education courses, walking home from dead-end jobs. We follow them to places like Sea Oak, with "no sea and no oak, just 100 subsidised apartments and a rear view of FedEx". Inside those apartments, the tenants are watching TV: "How My Child Died Violently is hosted by Matt Merton, a six-foot-five blond who's always giving the parents shoulder rubs and telling them they've been sainted by pain."

There are six stories in this collection. Four of them are very good, and the other two are at least good -- a success average that is highly unusual for a short-story collection. If, like your humble reviewer, you had to regularly review short-story collections, you would soon discover that they almost always suck -- tinseling suburban dullness with some distant derivative of the Joycean epiphany until you want to scream: Basta! That Saunders stories are on such a high level is close to miraculous.

Saunders's extraordinary talent is in top form in his second collection, in which his vision of a hellishly (and hopefully) exaggerated dystopia of late capitalist America is warmed and impassioned by his regular, irregular and flat-out wacky characters.
These characters may not have much, but they do possess the author's compassion, and so are enigmas of decency enshrouded in dark, TV-hobbled dumbness. Saunders, with a voice unlike any other writer's, makes these losers funny, plausible and absolutely winning.
added by steevohenderson | editPublishers Weekly (May 1, 2000)
The freakish, cowed characters filling Saunders's acclaimed debut, CivilWarLand in Bad Decline (1995), have spawned a new crop of unhappy, scabrously comic campers in these six stories, as the struggle among them to be happy and do the right thing continues.

Being inside the teeming heads of these folks is amusing and enlightening. So accurately are they rendered, in all their flawed glory, that they appear not only perfectly human but familiar.

added by steevohenderson | editKirkus Reviews (Apr 1, 2000)
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I have to admit I'm not feeling my best. Not that I'm doing so bad. Not that I really have anything to complain about. Not that I would actually verbally complain if I did have something to complain about. No. Because I'm Thinking Positive/ Saying Positive. I'm sitting back on my haunches, waiting for people to poke in their heads. Although it's been thirteen days since anyone poked in their head and Janet's speaking English to me more and more, which is partly why I feel so, you know, crummy.
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Book description
Collects these stories:
"Sea Oak"
"The End of FIRPO in the World"
"The Barber's Unhappines"
"The Falls"
Haiku summary

Amazon.com Amazon.com Review (ISBN 074755000X, Paperback)

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

(retrieved from Amazon Thu, 12 Mar 2015 18:00:02 -0400)

(see all 2 descriptions)

From the publisher. Hailed by Thomas Pynchon as "graceful, dark, authentic, and funny," George Saunders now surpasses his New York Times Notable Book, CivilWarLand in Bad Decline, with this bestselling collection of stories set against a warped, hilarious, and terrifyingly recognizable American landscape.… (more)

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