Cynthia Ozick says … a short story is more like the talismanic gift given to the protagonist of a fairy tale – something complete, powerful, whose power may not yet be understood, which can be held in the hands or tucked into the pocket and taken through the forest on the dark journey.
Saunders is one of those writers who had a powerful influence on me when I started writing, and this story is the one that has stuck with me for eighteen years. Absurd, slightly twisted reality is nothing new in literature – I’d read a lot of Vonnegut when I was young – but Saunders’ combination of deadpan surrealism, a perfect blend of pedantic corporate- and slacker-speak, and a genuinely humane appreciation of the ways in which late capitalism fucks with our heads? That really was. Above all, Saunders trusts the reader to go with him, to work out what’s going on. Reading it gave me the gift – a talisman, if you will – of knowing that such things could be done. It helped me get going – as soon, of course, as I stopped trying to imitate the inimitable.
‘Pastoralia’ depicts an anthropological amusement park in which the narrator and his colleague, Janet, share a cave, are given a raw goat and a box of matches each day – a rare privilege – and are expected to grunt, not talk in English. Janet chafes against the absurdity and cruelty of it all; the narrator worries her chafing will get them both in trouble:
“Will you freaking talk to me?” she says. “This is important. Don’t be a dick for once.”
I do not consider myself a dick and I do not appreciate being called a dick, in the cave, in English, and the truth is, if she would try a little harder not to talk in the cave, she would not be so much in the shit.
Published in The New Yorker, April 3, 2000, and included in the collection Pastoralia, Bloomsbury, 2001