Carver's first book of short stories is a remarkable work.

He wrote these stories, revised them, and his agent manipulated them. However, it doesn't matter because they are beautiful tales that strike directly at the reader's stomach and leave you wounded. They create a need in you to read more.

If you like short stories, you can't ignore this book. It presents a raw and dirty realism.

I have to check which ones I have read and which ones I haven't yet, as his later books include his first short stories.

This book is a must-read for anyone interested in the art of short story writing. It showcases Carver's unique style and his ability to capture the essence of human experience in a few pages.

The stories are simple yet profound, and they will stay with you long after you have finished reading them.

Whether you are a fan of literary fiction or just looking for a good read, Carver's first book of short stories is definitely worth checking out.

“Amid the fumes of alcohol, he wondered if there were other men capable of examining an isolated event in their lives and discerning in it the tiny signs of the catastrophe that from that moment on had changed the course of their lives.”

I believe that the banal everyday life captured by Carver, when seen up close, strips away its simplicity. What is put on stage are, for the most part, unsatisfied existences, and dissatisfaction is something that has taken root in time, remaining latent in the shadow of these normal lives. A process of sedimentation that surfaces in things already done. Then, a sense of failure weaves its way, sometimes seeking redemption but, more often, sinking without any strength.

“In the kitchen, he sat down at the table and rested his head on his arms. He didn't know what to do. Not just now, he thought, not just in this situation, no, not just in this regard, not just today or tomorrow, but all the days that remained to him on this earth. Then he heard the children moving. He sat up and tried to smile when they came into the kitchen.”

An America captured within its domestic interiors or behind the counters of a bar. In both cases, the smoke of countless cigarettes prevails while the ice in the glasses always full of alcohol tinkles as if it were the only living sound of these lives that are consumed in their solitude. Often the protagonists are couples in crisis precisely because of the inability to (re)find common alphabets. The longing for the early days, when a single look was enough to feel in complete harmony, is replaced by a lacerating sense of mutual incomprehension that makes the betrayed husband shout: “Will you please be quiet?”.

To silence the voice that recalls the mistakes of a life and seek in the silence a way out.

“Yes, he thought, there was truly a great malevolence weighing on the world and it only needed a vent, just the tiniest crack.”

1. \\tFat ★★★★★

2. \\tNeighbors ★★★★

3. \\tWhat an idea ★★★

4. \\tThey're not your husband ★★★★

5. \\tIs she a doctor? ★★★★

6. \\tThe father ★★★

7. \\tNo one said anything ★★★★★

8. \\tTwenty-four acres ★★★★★

9. \\tWhat will there ever be in Alaska? ★★★★

10. \\tEvening school ★★★

11. \\tCollectors ★★★★

12. \\tWhat do you do in San Francisco? ★★★★

13. \\tThe student's wife ★★★★★

14. \\tTry to put yourself in my shoes ★★★★★

15. \\tJerry, Molly and Sam ★★★★★

16. \\tFine gentleman ★★★★

17. \\tThe ducks ★★★

18. \\tAnd look at this! ★★★★

19. \\tBicycles, muscles, cigarettes ★★★★

20. \\tAre the kilometers effective? ★★★

21. \\tSigns ★★★

22. \\tWill you please be quiet? ★★★★

Su Carver and his writing have been written rivers of words, all shareable. He is the writer who has made a turning point in short stories, characterizing them in terms of themes and style in an unmistakable way. He is the sculptor of stories of ordinary normality, made up of tired husbands, absent-minded fathers, lying and dissatisfied wives. In short, he describes a universe of "insane" normality in which each of us finds ourselves in some way. Carver's writing immortalizes it like an instantaneous photograph that fixes the portrait of emotions and sensations as they are in that moment, "hinc et nunc", without a past and without a future to imagine. He puts them under the eyes of the reader and induces him to reflect on his own apparent "normality" and on what lies behind it, kept hidden. Reading these stories does not make one feel good for sure. It creates annoyance, impatience, restlessness and leaves a sense of desolation. (Every time I make this reflection, I think of Kafka and what he said about what a book should be for the reader). For all the reasons exposed above, I have given four stars to the book.

However, although aware of this, I continue to love more the wonderful stories of Chekhov that I am reading at this time. Each one is a jewel for the simple and linear but intense writing at the same time, which makes one reflect on the tragedy inherent in the even banal facts of life but also on the necessary understanding of human imperfection. Here, Carver is not the author for me.

What makes the seemingly simple stories of Carver generate so much?

Sometimes, words prove sterile in representing the most complex moments of existence; however, on other occasions, they seem to magnify moments that scarcely deserve attention. Carver appears to be more interested in the latter.

Just like Japanese literature, he rescues the unique and special in the ordinary.

Carver's stories often focus on the small details of life, the unnoticed emotions and interactions that occur in the daily grind. He has a remarkable ability to find beauty and significance in the mundane, to make the reader see the extraordinary in the ordinary.

His writing style is简洁 and spare, yet it is also powerful and evocative. He uses words sparingly, but each one is carefully chosen to convey the exact meaning and emotion he desires.

In this way, Carver is able to create stories that are both simple and profound, that touch the reader's heart and make them think about the meaning of life.

I was rather surprised during this second reading as I found myself not inclined to give the collection a full 5 stars. Carver's first collection is relatively concise, much like everything he published. The man simply wasn't overly prolific. I plan to review his major publications as I progress through them in the LOA collection. After that, I'll move on to read his Poetry and the uncollected stories and essays. All in all, there are approximately 1600 pages of Carver's material in existence. This initial 181 pages represents a somewhat average Carver - he was still feeling out the style that would later come to redefine a significant portion of American short story writing.

In some respects, it bears a resemblance to Chekhov, yet there is a more subdued quality. There is less variety. Figurative language is used sparingly. Sometimes what is being stated is completely literal, and at other times, he will conclude a story on a disquieting and eerily imaginative note. Often, he simply describes what his characters are doing. Every story features cigarettes and heavy drinking, and most of them contain some form of violence or verbal abuse. You might suspect that the author was simply writing about himself. However, while Carver's life had some similarities to that of his characters in certain aspects, there is clearly a detectable distance. There are occasional elements of satire and a great deal of dry, artful humor. There are also straight-faced, utterly bland recountings of a day or two of life. Nevertheless, the voice is supremely clear and extremely compelling. Writers who have adopted this style in part or expanded upon it include Murakami, Denis Johnson, Joy Williams, and many others. Once you start reading his stories, it's not difficult to understand Carver's influence. His style is so distinctive, tight, and absorbing, yet so plain, so straightforward, and always seemingly effortless.

This collection contains tales of marital strife, stories about men lounging in bars, men acting tough on the outside but crying on the inside, fishing, thinking about women, sitting around the kitchen table drinking, smoking frequently, and acting like that 'one guy' at social gatherings who has to spoil the fun for everyone. In short, they are very bleak, utterly depressing, and memorable, but they tend to blend together. There is a lot of subtext in the dialogue, as if he were emulating Hemingway. Not everyone will appreciate this first book, but what follows is where it really gets interesting.

Meh.

This simple word seems to carry a certain sense of indifference or mild dissatisfaction. It can be used to express a lack of enthusiasm or excitement about something.

For example, when someone asks you how a movie was and you respond with "meh," it implies that you didn't have a particularly strong opinion either way. It wasn't great, but it wasn't terrible either.

"Meh" can also be used in a more general sense to describe a feeling of mediocrity or blandness. It's as if you're just going through the motions and not really engaged or passionate about what's going on.

In today's fast-paced world, where we are constantly bombarded with information and choices, it's easy to become jaded and develop a "meh" attitude. We may find ourselves feeling uninterested or unmotivated by the things that used to excite us.

However, it's important to remember that life is full of opportunities for new experiences and excitement. We should strive to break free from the "meh" mindset and actively seek out things that bring us joy and fulfillment.

So the next time you find yourself saying "meh," take a moment to reflect on what might be causing that feeling and consider if there's something you can do to change it. Maybe it's time to try something new or approach an old situation with a fresh perspective.

Because life is too short to settle for "meh."

The given text seems to be rather fragmented. However, I will try to expand and rewrite it as best as I can.

Antonio Lombardi has shared an interesting post on Instagram. The link https://www.instagram.com/p/Bl77FARBk... leads to a captivating image or video. It's likely that Antonio Lombardi's followers are eager to check out this new post. Maybe it showcases his latest work, a beautiful scenery, or a moment of his life. Instagram has become a popular platform for people to share their experiences and connect with others. Antonio Lombardi seems to be making good use of it to engage with his audience. Whether it's through stunning visuals or thought-provoking captions, his posts are sure to attract attention.

I do not understand why I am never sick of Raymond Carver. Somehow, I just plow through every story, even though most of the time it's clear it's going to end up like most Carver stories do - with some bloody thread hanging there untied, hinting at something really awful.

But out of all of his short story collections (minus, you know, the big one of all the stories), this one is my favorite, I think. Maybe it's because it opens with a fat man from the circus in a diner. That's very possibly the reason.

Carver shines for me in the shorter stories. Favorites: "What's in Alaska?", "They're not your husband" and "Signals" all killed me.

Carver's brand of gorgeous suburban creepy sadness should get old quickly - couples don't really love each other anymore, everyone's drinking beer and trying to find something or run from something or hide something or discover something. Carver has a formula for these stories, but they change often enough to keep me interested and it never seems trite. These stories might have similar skeletons, but they all have different shades of skin, different shapes of bodies, different colored hair and eyes.

Anyway - the big one for me here is "Nobody said anything."

I don't know that I've ever read a short story with a more perfect last sentence.

After I read it, I sat there for about 20 minutes staring at the last sentence in hurt and wonder. It was like someone had drilled me open and installed something essential that had been missing into my chest, maybe another heart.

"I lifted him out. I held him. I held the half of him."

The rest of this review is pointless. I can't do better than that sentence yet.

Raymond Carver's stories have a unique charm that keeps drawing me in. His ability to create complex and flawed characters in the midst of ordinary suburban life is truly remarkable. Each story feels like a snapshot of a moment in time, filled with emotions and tensions that are palpable. The way he weaves together the themes of love, loss, and the search for meaning is both poignant and thought-provoking. Even though his stories often have a sense of sadness and unease, there is also a glimmer of hope and humanity that shines through. I can't wait to explore more of his works and discover the hidden treasures within each page.

The stories are perfectly lovely.

They are filled with charming characters and engaging plots.

However, for some reason, they just don't resonate with me.

Maybe it's because I have different tastes or interests.

Or perhaps I'm looking for something more specific in a story.

Whatever the reason, I can still appreciate the beauty and craftsmanship that went into creating these stories.

I just know that they're not the right fit for me at this time.

Maybe in the future, my perspective will change, and I'll be able to fully enjoy these lovely tales.

But for now, I'll continue to search for the stories that truly speak to my heart.

This is his first short story collection, which was published in 1976. It delves into the tragedy and gloomy lives of ordinary people.

Most of these stories center around couples and the various ups and downs they experience in their relationships.

For instance, ‘Signals’ narrates the tale of a couple having dinner at a restaurant, desperately attempting to salvage their marriage. Another short story focuses on a husband who is grappling with the decision to forgive his wife for her infidelity.

Carver has an exceptional ability to write about the American working class, and his stories are highly relatable. One can sense that some of these stories might be inspired by his own personal struggles with women and drugs.

I firmly believe that he is a writer worth reading. His works offer a profound insight into the human condition and the complex dynamics of relationships.

Overall, his first short story collection is a remarkable piece of literature that leaves a lasting impression on the reader.

This book is a special case. Carver's writing surely flows very easily. The man held it. But on the other hand, is that enough? My first encounter with his work was "Elephant", which I also loved. This one here had some stories that were worth a 5 out of 5 (perhaps with the eponymous one being the best), and others that had nothing to say to me. The ideal rating would be a 3.5 if we were allowed.

PS: I wanted to know who saw this cover and said "Hmm, it's nice. Let's circulate it like this."

I'm not entirely sure if it's Carver's shortcoming or mine, but I simply couldn't engage with the first half of this collection.

Despite the occasional flashes of brilliance, it just felt too limited and self-consciously opposed to my preferred aesthetic. In other words, although I have a fondness for Hemingway, I'm not a huge advocate of minimalism.

I relish beautiful, elaborately styled prose filled with artfully constructed sentences and powerful metaphors. I prefer long sentences and extensive paragraphs. I'm drawn to the complex and convoluted "labyrinthine tomes." Additionally, I have a penchant for works with a more intellectual slant, the classic and much-debated "novel-of-ideas," which is something Carver doesn't do at all.

He seemed to embody everything I disliked, and I was preparing to give this collection two stars and set it aside when I reached the halfway point.

However, things started to improve. I began to recognize the merits of Carver's writing. His nuanced characterizations, his understated humor, his economical use of language, and his ability to hit you right in the gut with a simple story, like that of a man forced to sell his car.

His immediacy. These qualities gradually emerged and all seemed to hit me at once, starting with "The Student's Wife" (the first story that made me exclaim "that was great") and culminating in the classic title piece, with its remarkable combination of detachment and empathy.

Carver cares deeply about his characters, especially the well-known down-and-out individuals he writes about, but he doesn't make a big fuss about it.

And that's what I found most frustrating and, at the same time, most brilliant about him: Carver jealously guards these stories, particularly the reaction he desires to evoke.

Barthelme is similar (in fact, the two are more alike than one might think; they both share a penchant for not revealing more to the reader than necessary), but Barthelme is more inviting.

His approach seems to be that we'll all have fun playing around with fictional forms and possibilities. Carver's minimalism and resistance to interpretation are far from inviting and sometimes not the most engaging.

His stories are quick and easy reads on the surface, but when you strip them down to their essentials, they border on being inscrutable. I'm not completely sure what I think of this, but I am interested in exploring more of Carver's work.

So, expect ratings for his other major collections as time progresses.

The short version: two stars for the first half, four stars for the second half. I wish the good stories had been more evenly distributed throughout the collection. Most people will probably disagree with this rating.