I had read this before, and then I picked it up again. There was a sense of deja vu because I couldn't remember having picked up this volume previously. What really stands out to me now is that I think I chose the wrong book. This is a collection of essays, intros, and interviews.

However, maybe I have also changed. His writing doesn't have the same impact on me as it used to. It is still quiet and powerful, but his descriptions of women are rather off-putting. The more I read, the more misogynistic it seems. Maybe it's outdated? But at one time, I felt this was extremely powerful. Maybe the times have changed, or maybe I have changed. But unfortunately, this is not what it once was. It's a bit of a disappointment to see how my perception of this work has shifted over time. It makes me wonder how much our perspectives are influenced by the passage of time and our own personal growth.

Salah Birsel's words, even if I read just a couple of lines, would at least give me a sense of comfort.
The author's difficult childhood and youth, an alcoholic father, getting married at a young age and facing the challenges of raising children while still desiring to be a writer. There are also the attempts after enrolling in a state university and taking writing courses there. And later, when the author started teaching writing courses, the prefaces written for the books prepared by the students.

The contributions to me were only in the form of jokes about how costly it is to raise children and the parts related to how happy and relieved the author was when finally having the time to write after the children had grown up.

This is the second book I have read by this author. It has helped me to reconcile with his narrative.

I didn't entirely like "What We Talk About When We Talk About Love". Then the other masterpieces would come.

Each book seems to offer a unique perspective and exploration of different themes.

The author's writing style is distinct, with a certain charm that draws the reader in.

Although the first book didn't quite resonate with me, this second one has shown me the potential and depth of his work.

I am now looking forward to delving into his other masterpieces and seeing what else he has to offer.

Maybe each book is like a piece of a puzzle, and as I read more, I will begin to see the bigger picture and understand the author's vision more fully.

Overall, this reading experience has been a journey of discovery and I am excited to continue on this path.

I really love his style, the way he tells what he tells.

The atmosphere he creates can be felt. One enters his stories.

The only thing I felt with each story, as a negative aspect, are the endings that are so open.

I would have liked a few more lines, endings that are a little more conclusive.

Very good.

Overall, his writing is captivating and engaging. The vivid descriptions and unique narratives draw the reader in and make them want to keep reading.

Although the open endings may leave some readers with a sense of uncertainty, they also add an element of mystery and encourage further thought and interpretation.

Despite this small drawback, I highly recommend his work to anyone who enjoys good literature.

His stories have the power to transport the reader to different worlds and make them experience a range of emotions.

I look forward to reading more of his work in the future.

“Worth reading for the eponymous story, one of Carver's best.” This simple statement holds a world of significance. Raymond Carver is renowned for his ability to craft stories that are both profound and accessible. The eponymous story in question is likely a gem within his body of work. It may explore themes such as human relationships, the struggles of everyday life, or the search for meaning in a complex world. Reading this story can offer readers a unique perspective and a deeper understanding of the human condition. Carver's writing style is characterized by its simplicity and directness, yet it is capable of evoking powerful emotions. His use of vivid imagery and concise language makes his stories come alive on the page. Whether you are a fan of short stories or simply looking for a thought-provoking read, this eponymous story by Carver is well worth your time and attention.

I guess it was inevitable that one day Carver would pass away. He died when I was in college, and I was still a fledgling writer drawing inspiration from his work. Unintentionally, I probably constructed a sort of Carver mythology in my mind, wrongly taking my admiration for his writing as a reason to revere him as a wise soul. Perhaps it was also knowing the story of the Lish-Carver split, of a writer breaking free from the constraints of an editor who had helped him gain notoriety so he could write according to his own vision rather than that of another, which made Carver an iconic figure in my developing artistic sensibility.

Over time, of course, I discovered the less glamorous moments of Carver's work and found myself more in a state of respect than awe. Upon rereading his stories, I saw the mechanisms behind the magic, witnessed his narrative process, and even allowed myself to note which of his stories I didn't like. I consider this a closer affinity for Carver's work than when I was in awe of it, as it enabled me to touch the humanity of his art, which I find a more solid foundation for connection than reverence and idol worship. It should be noted that I haven't mentioned Carver's poetry - this is because I simply could never bring myself to appreciate much of it, and this is another aspect of my respect for Carver. To truly embrace something and hold it dear, we also need to be aware of its flaws.

So, of course, I was intrigued to read Carver stories that had never before seen the light of day. Lately, I have found myself increasingly interested in the thought processes of artists, so I wanted to read the nonfiction as well, not only for insights into his own writing but also into the writing of others.

The five uncollected stories here are all quite wonderful and confirm the direction of Carver's work - the compassionate understanding of characters striving to make themselves better, although that improvement is not always in the direction they initially anticipate. We, of course, see many couples in a state of flux, even on the verge of breaking up as their best option. Among these, I think the title story is the strongest, as it combines the essence of what has always made Carver's work so powerful - a touch of magic firmly rooted in the ordinary. I would rather not disclose the magical moment here, but Carver handles it skillfully so that it is as natural as any other moment, and his portrayal of characters is as thorough and kind as ever.

The five essays included here are also quite excellent. "On Writing" and his essay on John Gardner are outstanding treatises on the art of writing, done, of course, in a rather unassuming style that focuses on what Carver himself did rather than demanding certain efforts from others. My wife was also quite taken with "Fires," and how Carver discusses writing (or not writing) while having children. The early stories that follow are interesting but not entirely engaging (although, in "The Hair," it is quite amusing to see Carver parodying Hemingway), but as I made my way through these, and of course into Carver's book reviews and commentaries, I began to sense a somewhat stiff man who had decided, through circumstance or philosophy, that writing worked best under certain conditions. This became quite evident in his comments on Donald Barthelme and his introduction to American Short Story Masterpieces.

Perhaps Carver was still reeling from his split from Gordon Lish at the time of these works, for Carver seems to insist in these writings on a style of writing that is very different from the school of writing that was (and probably still is) heavily promoted by Gordon Lish, something that Carver was directed towards (willingly or unwillingly) by Lish when it came to compiling his early collections. In his review of Barthelme's Great Days, he talks about his admiration for Donald's work, which is good to see, but he also goes on a rant against those who imitate Barthelme's work in writing programs (a criticism that, ironically, could now be applied to many students in college writing programs who now blatantly imitate Carver). In the introduction to American Short Story Masterpieces, Carver insists even more directly on fiction that depicts the lives of "grown-up men and women engaged in the ordinary but sometimes remarkable business of living and, like ourselves, fully aware of their mortality."

This, of course, is a good summary of Carver's aesthetic, but he seems to insist in this introduction that it is the best kind of writing, and this seems to undermine the compassionate Carver, the one who might accept differences in others, as these differences seem to be acceptable only if they apply solely to this aesthetic.

Carver's shortcomings become most evident through his introduction to Best American Short Stories, 1986, something I had read long ago shortly after the volume was published but hadn't revisited until reading this collection. Carver clearly made some good choices (Charles Baxter, Amy Hempel), but there is a certain amount of nepotism among his selections - Richard Ford, Tobias Wolff, and Tess Gallagher. The fact that the first two were close friends and the last a significant other tainted those choices for me (also the included fact that some of the selections were handpicked by Carver and not provided by series editor Shannon Ravenel) now that I knew more about Raymond Carver the man than I did in the late 80's when I first picked up that book.

But these kinds of revelations are bound to occur and, let's face it, are necessary. But was this the point of this collection? From Tess Gallagher's introduction, I think not. I am no longer in awe of Carver, and haven't been for a long time, and I still hold his work in high regard. Frankly, it is good to see some cracks in the armor and evidence of his own weaknesses, but I rather doubt that the collection was intended to leave me with this feeling.

This book was assembled after the death of the author.

I listen to it in the Audible format and I'm quite certain it's the same reader, Reeder, who has read the other books I've listened to by this author. It seems he has a dedicated reader, which is an interesting fact.

The book encompasses a rather wide variety of writing types. There's some discussion about the people who sifted through the massive amount of paper he left behind to select what's included here. It contains some of his short stories, his own writing about some of his stories and poems, and a number of reviews of books by other authors that he penned.

I believe you might have to be a more dedicated follower of this author to fully relish this book. There's a significant amount in the book of the author's own words about his words in the words of others and the writing process. I've always thought of this author as having a somewhat troubled life due to alcohol and alcoholism. However, there's no evidence or allusion to that issue anywhere in this book, unless you consider the regular references to geographic relocation. His moves between Syracuse, New York, the northwest, and California are mentioned. Occasional financial struggles are eluded to but not the main focus.

Overall, it's an interesting collection that offers insights into the author's work and thought process.

Carver is a remarkable writer.

In the seemingly ordinary nature of these stories, there lies a hidden past violence that can be felt in the atmosphere, whether it is physical or psychological.

These tales do not leave us indifferent. There is always something more in the human soul that leaves us without answers, and the search for them often shapes the path of our lives.

Just like the protagonists in these stories, we stumble along, even though we think we have everything under control.

Carver's works have a profound impact on readers, making them reflect on the complexity of human nature and the uncertainties of life.

His writing style is简洁 yet powerful, capable of evoking strong emotions and making us question our own beliefs and values.

Overall, Carver's stories are a testament to the power of literature to touch our hearts and minds.

Call If You Need Me is more of a compilation of Raymond Carver's miscellaneous works than anything else.

There are a few of his truly beautiful stories and a few of his earliest attempts, showing a high contrast in quality and demonstrating the power of a lifetime dedicated to perfecting a craft. When Carver was at his best, he was one of the greatest short story authors in history. However, his early works are not really worth reading anymore.

In addition to these stories, there is a collection of essays, a collection of introductions to short story collections he helped edit, and a collection of book reviews. The essays are generally interesting, while the editorial remarks are usually uninteresting. The book reviews are only interesting when the subject matter itself is of some interest. Throughout these prose pieces, Carver weaves his own theories about what creative writing can and should be and how it is done well. He often refers to his own literary heroes, origins, and evolving tastes in a way that creates an enjoyable biographical mosaic. It is truly a mixed bag, and is only really worth it for someone who is interested enough in biographical details to sift through the sands of irrelevant documents for scraps of gold.

This is one of my favorites by Carver. Particularly because of the context in which it was edited more than a decade after his death.

It left somewhat exposed the matter of the controversy regarding the actual level of intervention that Gordon Lish had as his editor.

Beginners, the original manuscript of What We Talk About When We Talk About Love, unfortunately, is indeed a ★★ or less book.

But here, in a book composed of rejections, I truly felt that I came across some little gems that were away from Lish's scalpel, full of heart and turmoil.

There are authors who throughout their entire careers will not reach the level of Carver's rejects.

Carver's works have always been备受关注 and studied. The way he presents the simplicity and complexity of life in his stories is truly remarkable. Even his rejected manuscripts contain valuable insights and emotions. The controversy surrounding Lish's editing also adds an interesting layer to the discussion of Carver's works. It makes us wonder how much an editor's influence can shape a writer's work.

Overall, this particular piece by Carver offers a unique perspective into his creative process and the relationship between an author and his editor. It is a must-read for fans of Carver and those interested in the world of literature.

Cinco cuentos publicados luego de su muerte a temprana edad completan “Si me necesitas, llámame”, justamente el nombre del último. Estos relatos son muy “Carver”. Son relatos que trascienden los personajes y la misma historia. Ellos se meten en las profundidades del alma, donde el amor o lo fatídico, sin entrar en golpes bajos, tiene la fuerza para demoler cualquier pensamiento o final esperado. Cada personaje encierra una historia, su propia historia, sus propios dolores. Carver tiene la cualidad de llegar a lugares insolentes y crudos, como si la realidad no estuviese en evidencia, sino oculta en cada párrafo. Estos cuentos no solo nos presentan historias interesantes, sino que también nos hacen reflexionar sobre la vida, el amor y el destino. Son cuentos que nos hacen sentir emociones profundas y que nos dejan pensando incluso después de haberlos leído.

Running out and starting from zero is a beautiful thing when the familiar has been replaced by feelings of strangeness.

It's dreamlike and brutalist, with a touch of Kafkaesque. It hits you like a cement brick.

Carver is always wonderful.

When you find yourself in a situation where the things you used to know so well have become foreign, going for a run can be a liberating experience.

The act of starting afresh, leaving behind the confusion and uncertainty, is both thrilling and empowering.

The dreamlike quality of this new beginning adds an element of mystery and wonder.

It's as if you're stepping into a parallel universe where anything is possible.

The brutalist nature of the situation, however, reminds you that it won't be easy.

Just like a cement brick, it can be heavy and overwhelming.

But with Carver's wonderful writing, you can find solace and inspiration.

His words have the power to touch your heart and make you see the beauty in even the most difficult of circumstances.