So there are some stories in this collection that are altered versions of stories from What We Talk about When We Talk About Love. I was having difficulty with the chronology, though I believe What We Talk About (pub'd in 19981) came first.

He also apparently rewrote some of the stories in Short Cuts when he wrote Where I'm Calling From.

The initial rewrites that I referred to (a.k.a. the ones I've actually read) include details and motives that contrast starkly with the spare characterizations from his second published collection, What We Talk About. Non-events with a stealthy surreality enveloping them become lessons/morals gifted to the reader.

Still, as collections of stories & not essays cut for periodicals, the main question on my mind was Who DOES this?!?. It makes one wonder about the author's intentions. Was he trying to explore different aspects of the same themes? Or perhaps he was dissatisfied with the original versions and wanted to give them a new life. Whatever the reason, these rewritten stories offer a unique perspective on the author's work and allow us to see his creative process in action.

This particular item has been sitting on my DVD shelf for a number of years now. It serves as the Criterion companion to a movie. I truly enjoy the movie, but I must admit that I ended up purchasing it mainly because there was a book included in the packaging. And thank goodness for that.

Carver might have otherwise continued to go unnoticed by me. For the most part, all I had ever heard about him was a one-sentence nod of approval in passing. I couldn't have predicted it, but I'm glad I waited to read his work. Because perhaps I might not have appreciated it as much had I read it before this particular moment in my life, whatever that may be.

This is a collection of his stories, along with one poem, that Robert Altman utilized in his film. This added an entirely new level to my reading experience, which I thoroughly enjoyed. I usually prefer to read the book before seeing the movie, but in this case, I'm glad it happened the other way around. It was fascinating to discover what elements Altman used and their point of departure. And truly, I can't say that I enjoyed one more than the other in its own right. However, Carver's style really stands out. I love the open-endedness he leaves in his stories. In other authors' writing, this technique often seems to me like a cop-out, a lazy solution for a plot they never quite thought through. But with Carver, I feel a sense of certainty within what might seem ambiguous. It's like this is where we close our eyes to go to sleep for the day, and even though the future will likely throw us in all directions, at least we know tomorrow will come, even if maybe not for us. That much we can rely on.

I give this four stars because this is Altman's selection of Carver. Now I have a strong desire to read Carver's own selection of his work, the way he intended. I am completely enamored. I have been thoroughly wooed. I am prepared to blissfully writhe in his stories like a puppy when it discovers that funky patch of grass in the park. Yeah.

Bello bello bello.

Among my favorites are "Would you please be quiet?" and "With so much of that water just a few steps from home."

The use of sensations and people is incredible.

It creates a vivid and engaging atmosphere.

The first phrase, "Would you please be quiet?", seems to convey a sense of annoyance or a need for peace and quiet.

It could be used in a situation where someone is being too loud or disruptive.

The second phrase, "With so much of that water just a few steps from home", gives the impression of abundance and proximity.

It makes one think of the convenience and beauty of having water nearby.

Together, these phrases add depth and interest to the overall text.

They allow the reader to better understand the emotions and experiences being described.

It's like taking a peek into the author's world and sharing in their unique perspective.

Overall, it's a wonderful piece of writing that showcases the power of language to evoke emotions and create a lasting impression.

After a meticulous selection of Carver's finest short stories, it becomes effortlessly clear why he is highly recommended to readers and writers of short fiction across the globe. His tales are not only memorable but also deeply touching, with a precision that is truly remarkable. They age gracefully, much like a fine wine, becoming more refined and captivating with time.

The days in the lives of his characters are not simply bad; they are often impossible to endure. It's not just a hint of sadness; it's a hollowing feeling that permeates their existence.

These stories are, without a doubt, true masterpieces. They are not only enjoyable to read but also incredibly worth studying. They offer valuable insights into the human condition, the art of storytelling, and the power of words. Whether you are a casual reader or a budding writer, Carver's short stories are sure to leave a lasting impression and inspire you to explore the depths of your own creativity.

I found these stories deeply unsettling.

When it comes to prose, Carver takes the Hemingway-esque style to a whole new level. There is no ornamentation whatsoever. Not a single line is pretty. This is not a criticism; in fact, it seems quite appropriate given what I'll say later. But beauty has no place here. In this world, beauty would seem out of place and, at worst, like chintzy kitsch.

I'm aware that the 70s were a dark period in American history. So, the fact that this book was published in 1980 or 1981 seems to fit the bill. We can all pat ourselves on the back and say, "Good job, Carver." But still, there's something more. It almost seems that the darkness in these stories has less to do with the 70s and more to do with Raymond Carver himself.

I don't know much about Carver except that he probably liked to drink. But this is one of those situations where I start to wonder how bad the world really was compared to Carver, who seems like a somewhat disturbed individual. It makes me think of Zola's definition of a work of art as a corner of the world distorted by the artist's temperament. This description fits Carver perfectly. That's the mystery of these sad, dark stories: was the world really this bad, or was Carver just bad at dealing with the world?

The writers who came after Carver regarded him as a deity. People like Baxter and Chaon, and there are many others. But they were able to take what worked from Carver's corner of the world without succumbing to the fury and sadness that defined the writer himself.

Life was truly a serious matter, an enterprise that demanded strength and determination from the young who were just starting to take flight, a difficult task - as was well known - but also a rewarding one.

This collection contains a prologue written by the filmmaker Robert Altman. In the introduction, Altman says that Raymond Carver "turned the prosaic into poetry" and that, moreover, he managed to "capture the wonderful idiosyncrasies of human behavior, those idiosyncrasies that occur within the randomness of life experiences". I completely agree. In fact, I can't think of another writer who can, in a short story or tale, show so clearly the pathetic and the ridiculous in the lives of ordinary people.

"Short Cuts" is a compilation of the stories that Altman adapted for the同名 film. The stories come from three different collections: "What We Talk About When We Talk About Love", "Cathedral" and "Will You Please Be Quiet, Please?". I had already read the first two, so I only read the texts from the third book. I will make brief comments on these.

The best story, in my opinion, is "Will You Please Be Quiet, Please?". It makes sense: after all, the best stories in Carver's collections are always or almost always the eponymous ones: for example, "Cathedral" and "What We Talk About When We Talk About Love". "Will You Please..." is a relatively long story (it has 30 pages) that explores the psyche of a man tormented by jealousy. Rarely in literature has the interior of the human spirit been explored so accurately. Its tendency to withdraw in difficult moments, and its tendency to escape outward to mitigate the pain.

The other texts are good (how could they not be, since it's Raymond Carver), but I think none of them are exceptional. I liked "He Wasn't Your Husband" for its wonderful sense of humor. The other three are also effective stories, but nothing that dazzles.

In summary, I highly recommend this collection. In fact, I recommend everything that Carver has written. I am increasingly convinced that he is among the fifteen or twenty greatest short story writers of all time.

We will grow older, both of us.

You can see it clearly in our faces already. For instance, in the bathroom mirror, on those mornings when we use the bathroom simultaneously.

Certain things around us will inevitably change. They might become easier or perhaps harder, one way or the other.

However, deep down, I truly believe that nothing will ever really be any different.

We have made our decisions, and our lives have been set in motion. They will just go on and on until they eventually stop.

But if that is indeed the truth, then what? I mean, what if you firmly believe that, yet you keep it all covered up?

Until one day, something occurs that is supposed to change something. But then, to your dismay, you realize that nothing is going to change after all. What then?

Meanwhile, the people around you continue to talk and act as if you were the same person as yesterday, or last night, or just five minutes before.

But in reality, you are really undergoing a profound crisis, and your heart feels deeply damaged.

This is the essence of what is explored in "So Much Water So Close to Home".

I know I'm *supposed* to give this five stars. It's truly mind-boggling that I've never read any Raymond Carver before this. I had read "So Much Water So Close to Home", but without realizing how "important" it was or being able to remember why I felt like I'd seen the story unfold right before my eyes. It was only when I saw this book at the library that I finally realized it was because it was in the movie "Short Cuts".

I've received numerous quiet hints to read Raymond Carver, and only recently did I pick up on them. You might think it would be the local aspect that吸引了 me, but it was actually how much I love Willie Vlautin and Thomas Franklin (and learning that they list Carver as a major influence) that pushed me over the edge. Unfortunately, this was the only available book at the library. I got so excited about it that it made me want to watch "Short Cuts" again (which we did, and I still *love* it). However, reading these stories after watching the Hollywood versions of them was just overkill. It was interesting, but not conducive to falling in love with his work.

I feel like I might enjoy reading those who are influenced by Carver more than reading HIM himself, but I'll definitely give it another try. I hope to start from the beginning, with collections not shaped by Robert Altman.

Stories about ordinary lives and ordinary people have always held a special charm for me. In these narratives, something extraordinary might occur, or perhaps it's something not overly remarkable, yet it transforms into something significant through the actions of the characters. I have a deep affection for all such stories.

I particularly like Raymond Carver's style of writing. It reminds me of Richard Yates, John Williams, and even Richard Ford to some extent - it's matter-of-fact and straightforward. However, what truly strikes me is the way these stories conclude. They all come to an end at rather odd, yet somehow perfect moments. It's as if the story isn't completely over, yet it's ended just enough. It's as though Carver has granted the reader the space and freedom to go and finish the story on their own. This approach is extremely brave, but remarkably, it works wonders. It engages the reader on a deeper level, making them an active participant in the story's conclusion and leaving a lasting impression.

Carver's ability to craft such stories with these unique endings is a testament to his remarkable talent as a writer. His work invites us to explore the nuances of ordinary lives and discover the extraordinary within them.

If you have an affinity for the work of director David Lynch, there's a high probability that you'll also be drawn to Raymond Carver's short stories.

The characters within his tales engage in the most bizarre言行. They consume alcohol and smoke incessantly, from morning till noon and well into the night. What initially appear to be ordinary, mundane scenes can, in the blink of an eye, transform into nightmares or full-blown existential crises.

Carver's writing style is characterized by its economy and simplicity. Its power lies in its minimalism. I consider myself a devoted fan, yet his stories are so incredibly dark and depressing that they verge on the comical. I'm left wondering if this was his intended effect. You might think, surely the next one couldn't be more brutal than this... and then, indeed, it is even worse.

Carver is frequently lauded as a modern master of the short story, and I firmly believe this to be a just and accurate assessment. His ability to create such vivid and disturbing worlds with so few words is truly remarkable.

Carver leads the truck of the woman into the unapproachable suburbs that are the United States, gathering the bumps where families hide the worst of each house.

These suburbs seem to be a world of their own, far away from the hustle and bustle of the city. The roads are rough and uneven, filled with potholes and bumps that make the ride uncomfortable.

As the truck moves forward, Carver notices the dilapidated houses on either side of the road. Some of them are missing roofs, while others have broken windows and doors. It is clear that these families are struggling to make ends meet.

Despite the poverty and neglect, there is still a sense of community among the people who live here. Carver can see children playing in the streets, and he hears the laughter and voices of the adults.

He realizes that even in the harshest of circumstances, people can find ways to survive and even thrive.

My introduction to Carver was like stumbling upon a Greatest Hits album of sorts.

Going into it, I had expected something quite similar to Bukowski - filled with drunks, affairs, and domestic violence. And indeed, Carver's works did contain all of those elements. However, what set him apart was something that Bukowski lacked - a profound humanity.

There was a tenderness in his writing and a keen eye for life's little moments that held a significance far greater than what could be expressed in mere words. It was the image of grieving parents sitting in a bakery, numbly eating cinnabuns, or a woman attending the funeral of a girl she had never met.

That's not to say that Carver was in any way sappy or sweet. His stories were harsh and unforgiving, yet they had a deep understanding of human nature. People, as he portrayed them, could be cruel, selfish, and violent. But they could also just as easily realize their mistakes and plead for forgiveness. They could seem moral one moment and then turn into vicious killers and abusers the next. We are, after all, sad, strange creatures.

Carver's ability to capture these complex and often contradictory aspects of human nature is what makes his work so powerful and enduring. It forces us to look within ourselves and recognize the truth about who we are.