How do you review a legend like Raymond Carver? He is an infamous short story writer, the voice of his generation, and a master storyteller among critics. One must be very careful, I should say, especially when trying to figure out what, exactly, all the buzz is about, and when only truly loving less than a 1/3 of the entire collection.
Don't get me wrong. I am appreciative of this collection and glad to have read it. For one thing, I am in love with the way Carver can hover in the cracks and crannies of desperation,描绘那些濒临崩溃的人物. Tonally, his stories remind me of melted snow, brutal cold weather, that uncomfortable draft from a window in January, the kind of cold, insipid clamminess you can never warm up from. In this way, I am in awe. Mesmerized. In particular, with his stories such as "A Small, Good Thing" (about the small comfort of a bakery when two parents lose their only child), "So Much Water So Close To Home" (about a wife who finds her husband repulsive after he lets a corpse stay in the river while finishing his camping trip), and several others. All of these stories are ones I greatly admire, wish I had crafted, and that stick with you long after you've finished. In each of these, Carver's subtle touch unravels, revealing a far greater complexity than one might glean the first time around.
However, for the remaining 30 stories, I have to say (in all honesty) that I can't even tell you what the stories were about, let alone remember their texture or color or point or even the names of their characters. I can't hold onto anything, everything is so bland and intangible, giving this reader the feeling of sliding along ice without a handhold. Part of the issue, I believe, is the complete and utter lack of detail. Instead, everything is whitewashed and vague and arid and starched, my eyes glossing right over the words, feeling nothing. Though, perhaps this is the point, the very style for which Carver is so well known. In this way, I can see it and understand it, but unfortunately, this style is not for me.
In this way, I found myself having a split reaction to this collection. On the one hand, when the stories were amazing, I found myself saying, "damn, that Carver will break your heart." On the other, I found myself (for the majority of the book) saying, "what the hell is so great about this guy anyways?" In this way, the collection left me with a bland sort of taste in my mouth, with only faint bursts of flavor here and there. Would recommend the collection as a must-read for any aspiring or practicing writer.

Standout stories such as “Careful” and “Distance” truly make this collection seem like a genuine compendium of Carver’s finest work.

Almost all of the stories incorporated are narratively alike, dealing with alcoholics, divorces, second marriages, and letter-writing. However, they are never repetitive.

Of course, since Carver is my favorite author, I will always have my partiality. Nevertheless, it is a great collection of a substantial body of work.

Each story in this collection offers a unique perspective and insight into the human condition. The characters are vividly drawn, and the situations they find themselves in are relatable.

Carver’s writing style is简洁 yet powerful, and it is evident throughout this collection. His ability to convey complex emotions and ideas with just a few words is truly remarkable.

This collection is a must-read for any fan of Carver’s work or anyone who enjoys well-written short stories. It is a testament to his talent as a writer and his ability to create stories that resonate with readers.

Suffice it to say that Carver is universally recognized as one of the leading lights of Modern American Fiction. He is admired by college professors as well as more casual readers. Carver is truly an enjoyable read that you will surely find. He chooses his heroes from everyday life, and he is that rare writer who is both well respected and easy to read.

With Carver, it's extremely difficult to choose a favorite. Each story he writes is of the highest quality, which is a reflection of just how consistent a fine writer he is. While this collection may not quite reach the standards of his other collection, Cathedral, you will still find very few that are better. So, do treat yourself to some time with one of the masters. Let his words transport you into the ordinary yet extraordinary lives of his characters, and experience the beauty and depth of his storytelling. You won't be disappointed.

I read approximately 150 pages.

These were quite decent short stories.

The main focus was on the life of the middle class and lower class during the 1950's.

The stories vividly描绘了 the daily struggles, hopes, and dreams of the people belonging to these classes.

It was interesting to see how they coped with the challenges of that era, such as financial difficulties, social inequalities, and changing values.

The authors did a great job of bringing the characters to life and making the readers empathize with their situations.

Overall, it was a great read that provided a valuable insight into the lives of ordinary people in the 1950's.

The overall quality of this collection of stories is somewhat uneven.

There are certain stories that I really enjoyed, while others didn't quite capture my interest.

Nonetheless, this book has a gem within it, namely "Feathers".

"Feathers" is one of my absolute favorite short stories of all time.

The way the author crafts the story, the vivid characters, and the engaging plot all combine to make it a truly remarkable piece of literature.

Every time I read "Feathers", I am drawn into its world and find myself completely immersed in the story.

It has a certain charm and depth that sets it apart from other short stories.

Even though the rest of the book may not be as consistent, the presence of "Feathers" alone makes it a worthwhile read for me.

I would highly recommend this book to others, especially those who appreciate well-written short stories and are looking for something that will leave a lasting impression.

Carver surely had mastered the art of writing.

He had an extraordinary ability to create page-turners out of stories where, on the surface, nothing big seems to happen.

What he did was give the reader a very realistic and at the same time absurd view of the characters' inner world.

In this collection, there are some stories that can be considered masterpieces.

However, it's also true that there aren't any really bad written stuff.

Still, his stories are not the most pleasant reading.

The main themes of his stories include divorces, alcoholism, broken families, financial problems, and the vanity of life.

These themes paint a rather bleak picture of the human condition, yet Carver's writing is so powerful that it compels the reader to keep turning the pages and explore the depths of these complex and often troubled characters.

Despite the somewhat depressing nature of his stories, Carver's work is highly regarded for its authenticity and the way it reveals the hidden truths and emotions that lie beneath the surface of our everyday lives.

I can't very well put into words how much I love Raymond Carver, and the deep subtext to everything he wrote. Every closing line leaves me humming. Each story is “another tragedy in a line of low-rent tragedies.”

Although I'd already read nearly everything in this collection, the chronological layout of Where I'm Calling From gave me a greater appreciation of Carver's progression as an artist. Going through it, you experience the minimalism of Carver's early career giving way to inspiring depth and sincerity. You see how he evolved from writing simple, spare stories to ones that are rich with emotion and meaning. And you're left with the distinct impression that he was just insanely good at doing both.

You have to imagine Carver compiling his life's work into this collection only months before he'd pass away. You have to picture him sitting at his desk, carefully selecting each story, thinking about how they fit together. You have to imagine him writing the final story, diverting from his typical subjects and detailing the death of Anton Chekhov, a literary giant in his eyes. You don't have to glean anything from it, because it's really all too much, but you do have to imagine. You have to imagine the man behind the words, the man who was so talented and yet so flawed, the man who left us with a body of work that will be studied and loved for generations to come.

Raymond Carver's works are a profound exploration of the human condition.

His stories, like those in "What We Talk About When We Talk About Love" and "Where I’m Calling From", delve into the wreckage of lives affected by divorce, loneliness, addiction, and remorse.

Carver's simplistic delivery, often labeled as "minimalism", sets him apart.

He gives only the bare necessities of the story, allowing the reader to deduce motives and context.

The story "Why Don’t You Dance" is a prime example of his magic-making, where much is said without drawing attention to it.

Carver's characters are realistic, breathing life into his stories with voice and action devoid of artifice or affectation.

Despite the purgatorial settings in his stories, Carver aims to capture a bittersweet solace as the characters find new meaning and perspective.

His stories are filled with beautiful moments that flower all around, and he has the ability to kill with a solitary line or observation.

The style that Carver has become known and loved for has an interesting story of development.

His early drafts were more wordy and descriptive, but through the influence of John Gardner and the controversial editing of Gordon Lish, he developed his signature sparse and sharp style.

Carver's stories spoke to the author on a deep level, arriving at the right time to properly ensnare his heart during a difficult time in his life.

These stories are like gifts of consolation, capturing the very basic human emotions and deftly detailing the hard moments we all feel.

Carver champions human nature in a crisp and clean style delivered with perfect nuance and subtlety, building vast visions of understanding, realization, and reflection.

His stories are a must-read for anyone who wants to understand the true essence of life and literature.

Overall, Raymond Carver is a masterful writer whose works have had a profound impact on the author and will continue to do so for generations to come.

5/5.

\\n  I'm Callin' From Where?\\n

"And everything you love starts to disappear,

The devil takes your hand and says no fear,

'Have another shot, just one more beer.'

Yeah I've been there,

That's why I'm here."

Kenny Chesney, That's Why I'm Here, 1997




The Hoff, Hammered


About 9 years ago, during a mid-life identity crisis, I embarked on my own literary renaissance. At that time, I hadn't heard of Raymond Carver. Then, on the New Yorker's monthly fiction podcast, I heard a reading of Carver's short story, "Chef's House." This short, powerful story moved me deeply. It was about a man named Chef who temporarily cleaned up his act and rekindled his relationship with his long-time girlfriend, only to fall back into his old ways. It was a familiar tale for those close to an alcoholic or addict. Lord knows Carver was one himself; he saw it in the mirror every morning.


Carver and Cheever wrote about alcoholics better and more realistically than anyone else. As they came to admit, they were both afflicted by alcoholism. I believe this is a major reason why their stories are so melancholy, often revolving around boozers and troubled relationships. They always had the sense that they couldn't live with alcohol, yet they couldn't really live without it either. "Booze takes a lot of time and effort if you're going to do a good job with it," Carver wrote in "Chef's House."





"Cathedral" is one of my three personal favorite short stories. It's the perfect example of why we should reserve judgment on others, be more tolerant, and how we can be changed in the most dramatic and cathartic ways by those whom our prejudice tells us are least likely to do so.


This is the last collection of short stories by Carver, who passed away from lung cancer in 1988 at the age of 50. The stories mainly center around two related traumas: a failed or failing marriage or long-term relationship and alcoholism. He managed to survive both. He truly wrote what he knew. However, it's not a collection that I would recommend to someone suffering from clinical depression. I give it 4.3 stars.

Risvolto
From where I am calling, the "autoanthology" that Carver wanted in 1988 shortly before his death presents stories belonging to the entire range of his production. Starting from those in the debut book "Will You Please Be Quiet, Please?" to the seven "new stories" in "Elephant", and finally to the conclusive and surprising homage to Chekhov in "The Cathedral".

Thirty-seven masterpieces to embrace, perhaps in the most complete way possible, the narrative horizons that recall each other from one point to another of the now legendary "Carver Country".

It's like entering a painting by Hopper. Each story is a painting. It's as if we are invited into a world where every detail is carefully crafted to create a vivid and profound image. The stories seem to come alive, allowing us to experience the emotions and thoughts of the characters as if they were our own. Carver's writing has a unique power that draws us in and makes us reluctant to leave.

Ciao Ray,

Tonight I was thinking of you. I took your collection of favorite stories and reread some of them. I don't understand why some of my friends, although they appreciate you, think that you are depressing. I find strength in your stories, even desperation, but none of your characters complain and do nothing. On the contrary, there is a blinding passion for life, for doing, for promising themselves that next time they will not make the same mistake, even if they keep making mistakes. But God, we are human beings, aren't we? What will those who never make mistakes ever have to tell? The story I like best is Elephant. I feel like crying when I think about how many times I have reread it over the years and always found relief in it. I took two university exams on this story. The moment when the protagonist dreams of his father always squeezes my heart. When he is a child and is afraid of falling from his father's shoulders and hears: "Let go. I'll hold you. You won't fall" and at that point he stretches his arms out and relaxes and thinks he is riding an elephant. Safe and free. My body still retains the memory on the skin of my father's hands that lift me up from the ground to hug me and the sweet feeling of abandonment. The idea of the cathartic dream has a unique power and the ending, which it prepares for, is one of the most beautiful I have ever read. I have made it my own, Ray. Believe me. Even now when it seems to me that I am about to give in, I look at the sky, the clouds among the noises of the city and think of the ending. I translate it into the present and I say to myself: "I don't think I'll leave here. Just as I won't go to work in Timbuktu, on the moon or at the North Pole. I haven't locked the door of my house with a key, but there is no object that I can't do without. It's a beautiful day and all things considered I feel calm. Everything will be okay. The people I love are alive. This is already good news and they will make it too. Of course, things are not going well for anyone now, but soon they will change. There is so much to hope for." And I start whistling my favorite song. I think I have the right to whistle if I want to, don't I? At the end, I take my bike and go at full speed, without a destination. Even if it's rusty.

Thank you,

V.

Clean lines and inspired short stories are the hallmarks of a master in this genre. Many of these pieces possess large open spaces within them, providing room for the reader to fill in with their own interpretations and imaginations. It's truly a remarkable aspect that engages the readers on a deeper level.

However, Carver's personal life tells a different tale. Sadly, he essentially drank himself to an early grave, passing away at the young age of 49. With such an abundance of talent, it's truly a pity that it was so wasted. It becomes rather difficult to hold him in high admiration when considering this aspect of his life. One can't help but wonder what more he could have achieved had he managed his personal demons better.