George Saunders's contemporary dystopian fiction emerges within the broader context of literary exploration of societal anxieties and the human condition. Positioned within the tradition of dystopian literature, Saunders's works share thematic elements with predecessors such as George Orwell's Nineteen Eighty-Four (1949) and Aldous Huxley's Brave New World (1932). Saunders also follows the postmodern literary traditions of psychological complexity demonstrated through stream-of-consciousness syntax and nonlinear narrative chronology.

Saunders's stories often feature futuristic, exaggerated worlds that serve as satirical mirrors reflecting the absurdities and flaws of contemporary society. His narratives blend speculative elements with humor, offering a lens through which to examine cultural, political, and social landscapes. In the context of contemporary dystopian fiction, Saunders's stories in Liberation Day address pressing concerns such as oppression, dehumanization, and the growing gap between the rich and the poor. He uses dark humor to investigate human folly and often approaches human evil through bleak, matter-of-fact language that points to human absurdity. In his satire and ironic approaches to human nature, he has predecessors in postmodern experimentalists such as Kurt Vonnegut, Raymond Carver, Thomas Pynchon, Martin Amis, and David Foster Wallace.