Raymond Carver is a writer who exemplifies with great skill the saying "reality surpasses fiction."

His stories are all fractions of daily lives, of situations that will not be foreign to the reader, simple pieces of anyone's diary.

His minimalist and precise narrative manages to hook from the real, not requiring great fictions. He found in the daily routine the darkest factor.

Of the 22 stories that make up the book, I highlight as favorites:

- "The Father"

- "Collectors"

- "Jerry and Molly and Sam"

- "Why, Honey?"

- "What Do You Think?"

- "Bicycles, Muscles, Cigarettes"

- "Signals"

In "The Father", a family looks for similarities between a newborn and his relatives, particularly his father; in "Collectors" a vacuum cleaner salesman offers a free sample to a possible buyer who is not interested at all; "Jerry and Molly and Sam" is about a family father who is economically drowning and looks for a way to get rid of "unnecessary" expenses; "Why, Honey?" is a mother who answers a letter through which we know that her son is a kind of criminal; In "Why, Honey?" a young couple visits the home where the woman grew up, while they decide if it is convenient to live there or not; "What Do You Think?" tells the story of a father who meets with other fathers in the neighborhood to take care of a prank committed by their children; and finally "Signals", where a couple visits a restaurant that will serve, in addition to for eating, for them to see the crudest behavior of each one and they are forced to evaluate their relationship and the duration of it.

All situations are deeply common, but with abrupt and unresolved endings.

I found Carver inside Murakami's book, "What I Talk About When I Talk About Running" and he has just positioned himself as the best discovery of the year.

Tamam, önemli bir öykücü olduğunu anladım. Ancak, okurken sıkıldım. Belki de anlattıkları sorunlu olabilir. Belki de artık bunları dinlemekten yorulmuşumdur. Bu ilkiydi. Diğer kitaplarına da bakayım.

Maybe the stories told by this author are not quite to my taste. Although I understand that he is an important storyteller, something about his narrative didn't engage me as much as I expected. It could be that the content he presents has some issues, or perhaps I'm just tired of hearing similar things. In any case, I've decided to move on and explore other books. I'm curious to see what different experiences and perspectives they will offer.

A book of short stories, another one just like all of Carver's, with the particularity that this is his first book.

It reaches the depths of its readers through the ordinariness, the lack of spectacularity, and the commonness of its stories, all firmly rooted in the minimalism of the language that knows how to express everything it has to tell without the need to resort to any astonishing gimmick for the story to capture and move.

Carver's writing style in this book is characterized by its simplicity and directness. He presents the lives of ordinary people in a way that makes them relatable and engaging. The stories may seem平淡 at first glance, but upon closer inspection, they reveal profound insights into the human condition.

The minimalistic language used by Carver allows the readers to focus on the essence of the stories and draw their own interpretations. It also gives the stories a sense of authenticity and realism, as if they are happening right in front of our eyes.

This book is a must-read for anyone who appreciates good literature and wants to explore the beauty and complexity of the ordinary.

A fascinating collection of stories, each of which is a snapshot of particular psychological moments that anyone could easily find themselves facing on any given day.

The aspect that most struck me about this "Will You Please Be Quiet, Please" is precisely this. The ability to capture what is narratively interesting in the most common moments, and to do so thanks to a masterful talent in choosing the right words, in creating the right atmospheres to talk about men and women.

That said, I think that for a while I won't read anything else by Carver. It's really all too American: very often I found myself wondering where the humanity of the protagonists of the various stories ends and where their Americanness begins, to the point that some pages could easily have been written by Philip Roth or David Foster Wallace.

The closing of all the chapters of the collection is beautiful. Here, the story is not thought of as a "short novel" that, after all, remains incomplete for the vast majority because not enough has been written. In this book, each story is a clear snapshot of an intense psychological moment. The last story, the one that gives the title, is an exception. In a certain easy dramatization of the situation, it is a bit bland and romanticized, and has little to do with all the others, which nonetheless have a very high average level.

Raymond Carver's collection of short stories, "¿Quieres hacer el favor de callarte, por favor?" is a remarkable work.

It employs a minimalist style, with direct prose stripped of adornments. This simplicity allows for the creation of intimate atmospheres that capture the emotions and nuances of solitary and despairing characters.

The stories in this collection delve into the complexities of daily life and human relationships within the American middle class. They present seemingly minimal tales, yet beneath the surface lie great passions.

Carver explores themes such as incomunication, emotional disconnections, misunderstandings, human fragility, and frustration. His ability to uncover these profound themes within the ordinary is truly masterful.

Readers are drawn into the lives of his characters, experiencing their joys and sorrows, and gaining a deeper understanding of the human condition.

"¿Quieres hacer el favor de callarte, por favor?" is a must-read for anyone interested in exploring the subtleties of human nature and the power of minimalist literature.

It is nearly impossible for me to peruse Raymond Carver's stories without feeling an intense urge to pen one of my own. Of course, it would likely be a derivative, foolish, and weak creation. Nevertheless, one of my own usually comes into being regardless. I believe this is a remarkable testament to the beauty of Carver's writing. The same phenomenon occurs to me after reading O'Connor and Yates. He writes with such tremendous skill that one is compelled to follow in his footsteps. And the fact that the following is a pale and pitiful stumbling effort - that too serves as a testament. All hail to these great writers!

I knew from the moment I picked up Carver's collection of short stories that I was going to fall in love with his work. His writing is characterized by a distinct minimalist prose that was highly popular during the 1980s and had a profound influence on many writers of that decade. At this particular time in my life, I was going through a period where I found it difficult to concentrate on reading complex texts. Carver's blank and direct writing style was precisely what I needed. It allowed me to engage with the stories without getting lost in convoluted language or overly elaborate plots.

What sets Carver's stories apart is his ability to focus on the hidden side of the everyday. He delves into the lives of ordinary people, uncovering the secrets and inner turmoil that often lies beneath the surface. We get a glimpse into the life of the couple next door that we never see, the inner monologue of the seemingly perfect husband, and the secrets that domesticity tries to keep at bay. His stories have a haunting quality that lingers long after you've finished reading. It's a strange and captivating feeling, and I can't help but think that he's been influenced more by writers like Flannery O'Connor than Hemingway, despite what everyone seems to claim. In my opinion, Carver is far better than Hemingway. His writing is more nuanced, more emotional, and more real.

When you lose control of your life - if you ever had it - everything loses the color it used to have, even reading, that beautiful habit. However, this book has allowed me to see a little of that color that, as I say, I forgot I had. But it has also made me feel a bit dirty. Dirty, for identifying with what I shouldn't, for not seeing problems where I should.

\\n  4/5\\n

With a minimalist style, Raymond Carver writes stories, mostly short, about the daily lives of different types of people in his country. All of them have an open ending, which, at first, may seem unusual - in fact, it is - given how accustomed we are to conclusive stories. It allows us to realize that literature can work in many ways.

The characters of Carver are men, children, women, who are presented to us at a specific moment in their lives, almost like a photograph, without knowing their previous history or their end. We seek to understand them or identify with them in a way that, I would say, is almost unconscious. We try, sometimes successfully, to understand the reason for their actions. The characters are shown to us, not told to us. And it is the writer who decides, according to his criteria, when we will understand and when we won't, when to stop showing.

As is normal in collections of stories, not all stories can be equally liked by you. On this occasion, I know that with time I will still remember quite a few of them. And that I know means something.

Stories with the highest human content, an elegant, exact and inspired style, synthetic narration with intense pregnancy: these are some of the known characteristics of Carver's stories, which are found unchanged and powerful in this volume. Whether he tells you about two boys dealing with the biggest trout ever seen, the torments of a man who wants to abandon his children's dog or describes a jealousy that cannot be endured, the author never gives up getting close to his protagonists, to betrayals, deceptions, oblivion and desire, unfolding page by page an anthology of failures and disenchantments that throbs with blood, epiphanies and dreams. Do you want to dance, please?

Carver's stories have a unique charm. They are not just simple tales but profound explorations of the human condition. The way he portrays his characters and their experiences is truly masterful. You can feel the emotions, the struggles, and the hopes of each person as if you were right there with them. His writing style is both简洁 and evocative, making it easy to get lost in the world he creates.

In this volume, you will find a collection of stories that will touch your heart and make you think. From the smallest details of daily life to the biggest questions about love, loss, and meaning, Carver covers it all. Each story is a gem, waiting to be discovered and cherished. So, if you are looking for a book that will transport you to another world and make you feel deeply, then this is the one for you.

White couldn't help but shiver then; he didn't know what those same expenses and signals, those silences of his meant.

He stared fixedly at the ground. It seemed to him that it was tilting in his direction, that it was moving. He closed his eyes and put his hands to his ears to calm himself. And then it occurred to him to cup his hands; that way, that roar like the wind that rages inside a seashell would reach him.

All the optimism that had animated his flight from the city had been exhausted, had vanished on the afternoon of the first day, as they traveled by car northward through the sequoia forests. Now the undulating pastures, the cows, the isolated farms in eastern Washington seemed to him to have no appeal at all, lacking what he truly desired. He was expecting something different. He continued driving with an increasing sense of despair and anger.

He really wanted to return to the world of Raymond Carver. The strangeness of normal appearances, the minimalism of situations in a marginal, cold, and dirty environment.

The apparent lack of control of Carver's characters is, in part, what makes them humanly possible, real. The normality of the uncomfortable silences that have a life of their own, form a whole in Carver's stories without the need for too many words, just the right ones.

An indisputable master of the invisible. The daily life of the working class taken to extremes of unsuspected cruelty, but always marking the rhythm well, the conversations, the invisible world of human suffering.

Titles, mostly questions with forceful answers.

These are the stories that I have liked the most in this anthology:

"Fat."

"They're Not Your Husband."

"What's in Alaska?"

"Why, Honey?"

"What Do You Want?"

"Night School."

"Jerry, Molly and Sam."

"What Are You Doing in San Francisco?"

"What Do You Think of This?"

"Will You Please Shut Up, Please?"

Every time I read Carver, it always seems to me that I enter the lives of others without asking permission. It's a strange feeling. One doesn't know how one should behave, whether to ask for forgiveness and hope to be invited to stay or desire to be discovered and told to leave immediately.

His stories are made up of moments, and often it is those that last the blink of an eye that tend to revolutionize things. There is always something unsaid, the mystery that seeps through the pages, but these are not detective stories, quite the contrary. Ordinary lives, anything but extraordinary like the protagonists who live them, after all. The unexpected is what one should expect from the pages of Carver: he manages to surprise with the voids, he is a master of space. Solitudes, men and women bent by adversity, small moments of comfort.

I have a weakness for stories: but these are brilliant, grotesque, surprising. I could read them at will.

Some of the stories deserve a hundred stars.

They are so captivating and engaging that they truly merit the highest form of praise.

Applause should ring out loudly for these remarkable tales, as they have the power to move and inspire.

Fireworks could be set off in celebration of their brilliance, lighting up the sky and adding a touch of magic to the moment.

However, there is also a hint of dread that lingers within these stories.

Perhaps it is the fear of the unknown, or the anticipation of something dark and foreboding.

Nonetheless, this element of dread only serves to enhance the overall experience, making the stories even more unforgettable.

Whether it is the excitement of the stars, the thunderous applause, the绚丽的 fireworks, or the spine-tingling dread, these stories have a unique charm that keeps us coming back for more.