Raymond Carver's stories are truly a gem during this time of the year. The dull, rainy scenery of early December pairs perfectly with the vastness and solitude of Carver's Pacific Northwest setting. His protagonists, often beleaguered and broken, face crises of purpose, which are almost always deeply rooted in past mistakes. These mistakes could range from failed marriages to battles with alcoholism, or sometimes both.

Returning to Carver's works over a decade after first being introduced to them was an extremely fulfilling experience. The sparse prose in this collection served as a reminder of what initially drew me to his stories. The concept that a story doesn't have to be fantastical or even overly exciting to be great is a powerful one. Carver's stories may not possess those qualities, but they are undeniably moving. He has a unique ability to pack a punch, whether it's through the use of a hanging ellipsis at the end of a story or a dramatic full stop.

This collection is a wonderful blend for the returning fan. It features a mix of stories from well-known collections such as Cathedral or What We Talk About When We Talk About Love, as well as a few new ones. Each story seems to complement the others, with lonely men or women often at their wits' end, whether they are aware of it or not. It could be the static isolation, like that of the man in Collectors who peers through his curtains waiting for the mailman, or Lloyd in Careful who has moved out of his house with his wife and has relapsed into a pattern of drinking champagne and wearing pajamas all day. Or it could be the restless pursuit of something better, as seen in the couple in Vitamins or the wife who left Carlyle in Fever.

Amid these everyday stories, there are people on the verge of something significant happening. In Cathedral, the narrator experiences empathy and connection for the first time in a long while after reluctantly spending the evening with a blind man. He remarks, "It was like nothing else in my life up to now." In They’re Not Your Husband, a man seeks control and wishes to view life through someone else's eyes. The same goes for Neighbors, where a couple starts cat sitting for a neighbor across the hall and eventually becomes reliant on that fantasy, with one of them saying, "Well, I wish it was us."

Failed relationships, whether beyond repair or teetering on the brink, also play a prominent role in Carver's stories. For example, in one story, a man sends his wife out to sell his car and she secures a deal through sexual favors. In Why Don’t You Dance?, there is an empty house and a cluttered yard of a man selling all his personal belongings. One of my favorite stories, Gazebo, showcases the fallout of broken trust and the irreparable situation that follows. The protagonist says, "I drink my drink and think it’s not ever going to be the same." This story captures the crisis of purpose and past that Carver presents his characters with, and the real tragedy lies in the self-realization that comes too late, as the character reflects, "There was this funny thing of anything could happen now that we realized everything had… I thought we’d be like that too when we got old enough. Dignified. And in a place. And people would come to our door."

At the heart of many of these stories is the glimmer of hope for redemption, even if it's just through a change in perspective or making peace with the past. In Where I’m Calling From, men struggle desperately to overcome their alcoholism, recounting the mistakes of their past. One of them says, "That’s when we were still together, trying to make things work out… Part of me wanted help. But there was another part." In Chef’s House, a couple driven apart by alcohol attempts one last time to make their relationship work, only to realize it's too late. One of them ponders, "Suppose, just suppose, nothing had ever happened. Suppose this was the first time. Just suppose. It doesn’t hurt to suppose."

Of course, these changes, realizations, or character arcs are not always subtle. Some of these characters reach their breaking point. In Menudo, a man cheats on his wife with a neighbor, wreaking havoc on his life and theirs. He eventually finds himself raking his yard and others' as desperation takes hold, before finally facing what he has been dreading. In Elephant, perhaps Carver's most scathing critique of capitalism, a man is stretched to the limit by his entire family. He sends out checks to keep those around him afloat while being forced to make sacrifices for his own comforts.

Carver's simple prose and themes offer a new and profound meaning to realism. His stark portrayal of the lifestyles of his characters and the forks in the road they encounter is not just limited to blue-collar workers on the periphery of a continent. Through the unwavering humanity he赋予 each of these characters, he makes these stories relatable to anyone who has faced a difficult decision in their life, especially when it's a consequence of their own actions.

Raymond Carver is probably the best American short story writer from the last century. His works have had a profound impact on the literary world.

I truly loved this collection of his stories. Carver is a great example of the idea that the specific is universal. In his stories, he delves deep into the ordinary lives of people, exploring their relationships, dreams, and disappointments.

Despite the seemingly mundane nature of the settings and characters, Carver manages to extract themes and emotions that are relatable to readers from all walks of life. His writing style is简洁 yet powerful, using simple language to convey complex emotions and ideas.

Each story in this collection is a gem, offering a unique perspective on the human condition. Whether it's a story about a failed marriage, a lost friendship, or a moment of self-discovery, Carver's words have the ability to touch the reader's heart and make them think.

I would highly recommend this collection to anyone who loves short stories and wants to experience the genius of Raymond Carver. It's a 4.5/5 read that is sure to leave a lasting impression.

"Where I'm Calling From" is a collection of 37 of Carver's best short stories. Carver, with his great talent and invective, takes us into his America.

The America told and described by Carver is completely different from the America we are used to knowing. It is not the America of dreams come true, but the America of broken dreams, of despair.

Carver's stories are true brushstrokes of life. They are brushstrokes that tell and describe desolation, incommunicability, the difficulty of making it to the end of the month, love, tragedy, and so on. The protagonists of his stories are men and women, ordinary, simple people who live with the problems of every day. They are characters with whom one can identify. These are stories that touch the heart and are close to each of us.

Carver's style is dry, without frills, simple just like his characters, beings with their flaws and virtues that make them very similar and equal to us.

Raymond Carver
"Where I’m Calling From. Selected Stories."

If I had come across Carver's works twenty years ago, I might very well have thought to myself, "Hey, I can write stories just like this. It seems so easy!" I might have even searched for my pen, eager to start writing, while asking for a beer and a sheet of paper. Fortunately, it's unlikely that I would have actually said those words out loud. And that's a good thing because now I'm certain that there's no possible world in which I could achieve what he does.

Everybody is aware that it's a challenging task to capture the essence of a collection of short stories. I definitely don't wish to offer a summary of each and every story here. However, I will state this:

To exist is to endure struggles. There is an inherent tension in our interactions with others that can never be completely resolved. Many of these struggles involve a potent and unpredictable emotion known as love. Love is highly decentralized and unregulated. As a result, it can be discovered not only in the tales of the wealthy and powerful but also in the stories of the "ordinary" people. Carver, clearly, was cognizant of this. Love is arguably the most intense emotion, which makes it the perfect subject for the best stories. A significant number of Carver's stories revolve around love in one way or another. But for the most part, they are about poverty; both the poverty of means and the poverty of the mind.

And are they ever impactful... They draw you in from the very first sentence and refuse to release their grip until the very end.

Reading Raymond Carver is an experience that can be likened to many things. It is, for instance, akin to listening to a friend sharing a story of their past experiences on a warm sunny afternoon. Just like any good tale, it is filled with both joy and sadness, captivating the reader and drawing them in.

It is also like eavesdropping on someone's inner feelings or spying on someone's personal life. There is a sense of intimacy and voyeurism that comes with reading Carver's works. However, despite this, it is always a good read and a pleasure to engage with. His writing has a simplicity and honesty that is refreshing and engaging, making it accessible to a wide range of readers.

Whether you are a fan of short stories or simply looking for a good read, Raymond Carver's works are definitely worth checking out. They offer a unique perspective on life and human nature, and are sure to leave a lasting impression on the reader.

Why should a collection of short stories published in 1983 be included in Bloom's Western Canon, published in 1994?

If the definition of the Western Canon is said to include those works which have most influenced Western culture, then surely this collection would not have had time to do so. Instead, I think it is a collection which reflects a small segment of that culture.

At first, I read several stories in one sitting. They seemed so much alike to me that I decided to read one or two a few afternoons a week. When I started to read them this way, I began to see that, while very similar, the stories had nuances that differentiated them one from another. Many of them are written in the first person, but even among those, the character isn't the same person.

With the exception of the final two stories, these are working class people. There is a thread of discontent throughout, or of bewilderment, or frustration. In the early stories, alcohol plays a big part. In nearly every story, someone smokes - often a lot of cigarettes. These people have marital difficulties and financial difficulties.

I read something of the author's life. It is clear the stories come from his own background. He lived in logging communities in Washington state and in northern California. He married very young, had two children, and after a time he and his wife separated and divorced. He was an alcoholic who died at a young age from lung cancer. Where I'm Calling From is an astounding body of work that offers a unique and poignant glimpse into the lives of ordinary people struggling with the challenges of everyday existence.

Nearly every story is an absolute gem.

Take "A Small, Good Thing", for example. Oh my god, it is so heartbreaking. The way the story unfolds, with the tragedy that befalls the characters, tugs at your heartstrings.

It is also incredibly moving. You can't help but be affected by the emotions and experiences of the people in the story.

And above all, it is deeply humane. It shows the kindness and compassion that can exist even in the face of great sorrow.

This story is a prime example of the power of literature to touch our hearts and make us think about the human condition. It is a must-read for anyone who appreciates a good story that is both entertaining and thought-provoking.

Overall, I would highly recommend this collection of stories to anyone looking for a great read.

Raymond Carver's collection of short stories is a complex one to rate. With 37 stories, the quality varies greatly for me. I would give 9 of them a 4, 11 a 3, and the remaining 17 a mix of 1s and 2s. Some stories are overly simple, lacking depth. While Carver is a minimalist and his stories are meant to symbolize and hint at deeper things, some are just too thin. However, there is still much to enjoy. Despite the prevalence of down-on-their-luck characters and misery, the good stories are very good. My favorites include 'So Much Water So Close To Home', which is subtle and deep, and shows a woman's change in perception of her husband. 'Boxes' is a fine tale about a man and the two women in his life. 'Feathers' is another subtle story with an odd atmosphere. 'Neighbours' is straightforward yet mysterious, with a clever ending. 'What We Talk About When We Talk About Love' is just that, with two couples discussing love while getting drunk. 'Careful' is a simple yet thought-provoking story about a couple's separation. 'Cathedral' shows a man's unease with a blind person. 'Elephant' has a typical Carver vibe, and 'Blackbird Pie' is a downbeat but engaging read. The best of these stories are very readable and can lead to much pondering and analysis. However, given the limited themes and downbeat nature, a smaller collection with some deletions and better insertions could have made this one of the great short story collections.

21 novembre 2011
Yesterday, SKY+something dedicated the evening to Altman's direction. I started watching America Oggi and after a few minutes, I was a bit confused - I know I've never seen the film, but I know it - I informed myself and realized that it is based on the stories of Raymond Carver. After telling myself: how much I ignore, my girl, I made up my mind and wanted to be well prepared for the viewing, with the will to rectify my opinion of Carver who, as I wrote previously but below - had not touched my chords.
Unfortunately, I have to say that I couldn't watch it - I preferred to continue reading Fury -. Carver chills me, literally. He is a great writer, or rather I would say that he is an even greater observer, but he destroys me. It depresses me too much to observe the emptiness of man, the path of his involution. Here we are not talking about men who were never beasts elevated to the state of full human beings, here we are talking about men who were such, but have forgotten to be so, crushed by disillusionment and failure. This is a reading that for me is not healthy, it suffocates me, it makes me anxious. It had already happened to me with Wallace's Oblio...

First hot comment
Four stars, but it didn't win me over. I definitely recognize its value - Carver's great sensitivity and ability to capture the human soul - but my liking doesn't take off. They are really monotonous stories, too many described failures and all of the same type. I know very well that this was precisely his purpose, that he wanted to describe the moment when man opens his eyes and realizes that the sparkle he had dreamed of reaching does not give so much light and above all is not lasting, but during the reading I was often distracted, I found myself looking elsewhere. And I'm sorry to say it. And then, at the end of it all, after reading even the last story, I ask myself: "But how much did these Americans drink?"

Raymond Carver's works often explore the lives of ordinary people, filled with disappointments and unfulfilled dreams. The stories seem to paint a rather bleak picture of human existence. While his writing is undoubtedly talented and perceptive, it may not be to everyone's taste. Some might find the repetitive nature of the failures and the overall tone of the stories a bit too much to handle. However, it is important to note that Carver's intention was to show the reality of life as he saw it, warts and all. His works can be a powerful reminder of the fragility and vulnerability of the human condition. Whether one likes his stories or not, there is no denying the impact that Carver has had on the world of literature.

As someone who doesn't typically engage with a lot of fiction, this experience of reading short stories was entirely new to me. I had never delved into this particular literary format before. While it was refreshing to attempt something different for a change, I must admit that I didn't have an overwhelming fondness for it.

Personally, I have the impression that short stories often lack the depth that I desire. There simply isn't enough time to truly establish a connection with the characters or to become fully invested in the plot.

Some of the stories within this collection were quite good, but others fell short. I found myself having to push myself to keep reading at times, although this wasn't overly difficult given their brevity and Carver's straightforward and uncomplicated writing style. I do appreciate Carver's ability to convey a great deal with just a few words. Some stories that were barely ten pages long managed to feel longer and more substantial as a result.

However, as I previously mentioned, I generally didn't like the format as a whole. My favorite story was "A Small Good Thing", and I also enjoyed "Cathedral", "What We Talk About When We Talk About Love", and "So Much Water So Close To Home". There were several that I didn't like and others that I simply didn't care for. Some stories gave the impression that you were merely spectating some uninteresting individuals and listening to their conversations that held little appeal.

All in all, it was an okay book, but I don't think it's for me. This doesn't necessarily mean the end of short stories for me, but I do believe that I should explore other types of fiction books to find something that better suits my reading preferences.

I have been deeply pondering over what it is precisely about these stories that instill in me a certain sense of depression. And upon reflection, I believe it lies in the fact that they extensively discuss having once possessed something wonderful only to have lost it. The majority of these characters have experienced something good in their lives. It could be a loving family, or perhaps something they firmly believed in, such as love or the possibility of leading a fulfilling life. However, all of these are typically relegated to the past.

On the other hand, it must be said that Carver tells these stories with such remarkable skill. He always seems to know exactly which emotional buttons to push. The details he presents each time not only reveal a profound sense of loss but also a touch of humor within that very loss.

Yes, there is a tinge of depression in these stories, but they are also incredibly exact and simply outstanding examples of great storytelling. They manage to capture the essence of human experiences, with all their joys and sorrows, in a way that is both relatable and thought-provoking.

It's been an absolute pleasure over the past two months to immerse myself in this life-spanning collection of Raymond Carver short stories. I was introduced to Where I'm Calling From after reading Glenn Sumi's glowing review, and I'm more than happy to report that he didn't lead me astray.

Carver's stories all possess the remarkable ability to convey powerful emotions with stunning linguistic economy. The language is always accessible, even when the content delves into complex and often uncomfortable themes. Over the course of the 37 stories in this collection, Carver's scope widens as he incorporates increasingly large casts and tackles new themes with the same perceptive eye as in his early works. One of the most fascinating aspects of this collection is witnessing Carver's evolution as a writer. It makes it all the more poignant when you consider that the \\"New Stories\\" section seems to hint at even more exciting directions he might have explored before his untimely death at 50.

The stories themselves are linked by common threads such as broken homes, failing marriages, excessive drinking, infidelity, tragedy, and the unpredictable nature of human existence. But don't let this seem too gloomy or overly cynical. Carver has a knack for finding humor in the most unexpected places. For example, in his early story Bicycles, Muscles, Cigarettes, the physical violence is both hilarious and surprising. Indeed, Feathers is quite possibly the funniest short story I've ever read, and my laughter drew the ire of the studious, silent coffee-drinkers around me. Then, just as I would finish a hilarious tale, I'd be plunged into a heart-wrenching story of loss in A Small, Good Thing.

There's a great deal of variety on display in this collection, with more diversity towards the latter half. However, there's something that gives these stories a distinctively Carverian feel. The fact that one story doesn't seem out of place among the others is a testament to the humanistic and almost universal nature of Carver's writing. Even though the tone and intent of each story can vary widely, I had the sense that two characters from different stories could meet in a diner and the encounter would feel entirely natural. Of course, it doesn't hurt that just about every character would be more than happy to engage in a conversation over a few drinks.

I've been reading a lot of short story collections this year, and reading Carver has been a refreshing contrast to some of the other authors I've explored. Carver does an excellent job of telling a rich and detailed story with just a few well-chosen words. Some of these characters and their situations seem familiar because they are presented in a way that closely resembles real life. You can sense the tension between two characters through their body language or a change in their dialogue, rather than having it spelled out for you. This type of writing is a rare and precious find.

This is a relatively long short story collection, but it's well worth the time investment. I would pick it up whenever the mood struck me, and then I would power through the last 150 pages over a couple of days. Carver's stories provided a much-needed respite from dense and challenging reads, and they grounded me in really good, unadorned prose. So, I hope that my review will inspire you to read this collection, just as Glenn's review did for me. Thanks, Glenn!