Sometimes misreading a character leads to consequences that misread the entire book. Just want to sit and gaze at the covers of those books and then sit alone, mumbling and trying to find a way to get the words out of my head, but then I have to pick up this volume. It's so frustrating! Now I'm misreading a short story again. At first, I looked as expressionless as a person without emotions, so I had to ask an old person to search for some clues of "the translator's words" in the hope that I could approach the author's strange way of writing short stories, but in the end, I was still confused :)) I heard that in the martial arts world, it is rumored that Lam Vu Thao translated it, so I believe him. And I wonder why he is so stingy with words and doesn't write "the translator's words" like those other translated books I have read? :)) Then I fell silent and continued to read. In the end, I understood what the author wrote and I had to accept one thing, he is an old storyteller. If he lived in Vietnam, I believe he would be classified as a professional criminal who specializes in peddling watermelons and radishes on a large scale.

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The 36th book I read in 2020.

Probably, this is the weakest among the Carver collections. I believe I have read all of them by now. Since this was his first collection, reading it last might seem a bit unfair as we are comparing it with his later and more "mature" work.

Nevertheless, there are still some brilliant stories within it. And it showcases the typical, sparse yet powerful prose that is characteristic of Carver. His writing style, even in this early collection, is able to convey deep emotions and complex human experiences with just a few well-chosen words.

Although it may not be on the same level as some of his later masterpieces, it still offers valuable insights into the mind of a great writer in the making. It is interesting to see how his writing has evolved over the years and how this early work laid the foundation for his future success.

Overall, while it may not be my favorite Carver collection, it is still a worthwhile read for anyone interested in his work or in the genre of short stories in general.

None of Carver's collections are in any way lacking in *****worthiness. The stories, which seem so powerfully simple and elemental on the surface, are, however, strangely different with each subsequent revisit. It's as if the very simplicity of the tale creates more space for the evolving reader. With each new reading, the reader brings their own changing perspectives, experiences, and emotions to the story. What may have seemed straightforward and uncomplicated the first time around can take on new depths and meanings. The beauty of Carver's work lies in its ability to remain relevant and engaging, even as the reader themselves changes over time. Each story becomes a new exploration, a new discovery, and a new opportunity to understand the human condition in a different way.

At times, I find myself deeply pondering whether I truly “comprehend” short stories.

That is, on numerous occasions, I reach the conclusion of a story and think to myself, “Well. That was a rather uneventful thing” or perhaps, “Nothing of great significance really took place” (much like an episode of Seinfeld, I would imagine) or even, “WHAT ON EARTH AM I FAILING TO GRASP HERE?” After finishing reading a short story, I am often left with a profound sense of dissatisfaction.

Some short stories possess a surprise twist ending or can be extremely unsettling in a blatantly shocking manner, while others, on the surface, seem to be about…absolutely nothing. And it is precisely this realism and sense of nothingness (if one can put it that way) that instills a feeling of unease within me. I am not entirely certain if I truly have an affinity for this type of story. I read short stories because I have a genuine interest in the genre…it is one that I aspire to write, yet have never actually made a concerted attempt to do so. I am eager to understand what makes short stories function.

This is the very first short story collection of Raymond Carver’s that I have had the opportunity to read. A quick Google search of Carver will disclose that he is regarded as a master of “gritty realism”. His characters are quietly despondent, lonely, and constantly struggling. Each story offers a brief glimpse into their lives. I find it fascinating that so many of the stories in this collection, including the title story, are posed as questions (“Are You a Doctor?”, “What’s in Alaska?”, “Why, Honey”, etc.) as the characters are frequently undergoing some sort of unspoken (in the sense that they are not truly in touch with the nature of their feelings) existential crisis. These individuals rely on cigarettes and alcohol as a means of coping with their harsh reality. The fact that the characters are so ordinary is precisely what makes these stories (or at least some of them) so effective; so disconcerting.

One concern I have with the works in this collection (and, having only read this one, I am unsure if this is a prevalent aspect in all of Carver’s writing) is the portrayal of the relationship between men and women. Perhaps it reflects something about Carver’s own personal experiences, but most of the men in these stories are brooding and, I assume, grappling with the question of what it means to be a “man” while being constantly pestered by their nagging wives. It is very much along the lines of, “I AM DEALING WITH THESE ENORMOUS ISSUES AND ENTERTAINING THESE PROFOUND THOUGHTS, SO PLEASE LEAVE ME ALONE, WOMAN.” I never really gained any understanding of what the women in these stories were thinking (not even in the epistolary story written from the perspective of a woman). There is no sense of mutual understanding between the men and women in these stories (at one point, a woman explicitly states, "It isn't that way at all, Bruce. You don't understand."). Perhaps this is precisely the point. Since this is Carver’s first collection of stories, I am not certain if this aspect undergoes a transformation in his later works.

Imagine a fascinating scenario where there are aliens attempting to blend in as humans. They have studied human behavior in public to such an extent that they can avoid raising any suspicions as long as they mostly stay to themselves. However, the one thing they have no clue about is how people think. Now, picture one of those aliens penning a book of short stories.

Every single thing in these stories is slightly strange and rather off-putting. None of the stories seem to have a proper direction or destination (at least not in the first third of the book, which is all that I have read). It's as if these are actions that people could potentially take, but in reality, they wouldn't. Technically, it is possible, yet none of it holds any logical sense. I truly struggle to understand the purpose or the point of this book. It leaves me baffled and wondering what the alien author was trying to convey.

Raymond Carver's early works offer a glimpse into where it all began for him, and one can definitely detect signs of what was to come.

Most of these stories, except for the last one, are relatively short, under 8 pages long. Husbands and wives face various struggles, be it with money, alcohol, or each other. Everyone smokes "cigarets" as they have only partially kicked the habit (the extra "t" and "e" are quite apparent). It is a very blue-collar Pacific Northwest setting (Carver's home turf) with good old-fashioned names like Clyde, Sam, Marian, Carl, and Vera (I almost expected a Far Side cartoon panel to emerge).

However, there is a minor annoyance. Many of the plots seemed unrealistic to me, as in "no one would say that" or "no one would do that," and so on. Still, in the name of creating tension, a story writer has to take certain liberties.

On the positive side, Carver demonstrates early strength in subtext. He is already an expert at getting the action started in the opening paragraph (which, to me, is one of the most challenging aspects of short story writing). When appropriate, he also shows a skillful hand in describing nature and the weather.

Finally, as is often the case in good story collections, Carver plays the classic "mass of men lead lives of quiet desperation" card. Some of these men, however, have anything but quiet desperation. There are some real Sherwood Anderson-style "grotesques."

Speaking of Sherwood Anderson, who choked to death on a toothpicked olive in his drink, Carver clearly draws from the Gertrude Stein, Sherwood Anderson, Ernest Hemingway School of Story Writing, with the use of repetition, often one sentence right after the other (talk about hitting the reader over the head!), and with people turning over in bed and looking at walls. It's the end of the line, either metaphorically or, worse, in reality.

Overall, it's an uneven but entertaining start.

My second encounter with Carver's stories.

The style and content are still the same beloved ones. Plain and direct language and people with emotions.

In this particular book, I distinguished more of the autobiographical elements: the misfortunes, the economic problems, the alcoholism.

I singled out the autobiographical story with the recollection from his childhood "No One Said Anything", "Jerry, Molly and Sam" and of course the last and eponymous one.

Unfortunately, some stories have nothing to offer, mainly 2-3 at the beginning of the book, but some others compensate for them.

Carver's stories have a unique charm that draws the reader in and makes them feel as if they are a part of the characters' lives. The simplicity of his language belies the depth of the emotions and experiences he portrays. Through his writing, we can see the struggles and joys of ordinary people, and gain a deeper understanding of the human condition.

Even though not every story is a masterpiece, the overall collection is a testament to Carver's talent as a writer. His ability to capture the essence of a moment and convey it in a few short paragraphs is truly remarkable.

I look forward to reading more of his work and exploring the rich world of his imagination.

Racconti d'esordio del grande Carver sono come fucilate nel silenzio. They are rapid dives into the so-called normality, that normality which surrounds us and of which we are part, often deluding ourselves into thinking that we are something different or better.

Just like looking at the illuminated windows from the dark street, one can see what is happening inside at the moment. We don't know what happened before, and we don't know what will happen after. Similarly, with Carver, we have partial, incomplete, and never clarified scenarios at our disposal, just like the lives of all of us if we have the courage to see and admit it.

The technique of the short story is already at a stellar level, with dry and concise periods, and dialogues that crack like whiplashes. His stories offer a unique perspective on the human condition, revealing the hidden emotions and desires that lie beneath the surface of our seemingly ordinary lives.

In this collection, Carver leads us into the world of the defeated, the vanquished, those whom life has brought to their knees, those who struggle to find a meager hope in the tormented flow of their own existence. His style is always extraordinary. The stories are a bit more subdued. Some remain splendid, while others are a bit colder, if not difficult to interpret as, at least on the surface, they are mere descriptions of events or fragments of life that do not seem to reveal a moral, a teaching, a fruitful reflection. Did it please? No....

It is as if Carver is presenting us with a raw and unfiltered view of life, without sugarcoating or trying to impose a particular message. The characters he portrays are often ordinary people facing extraordinary challenges, and their experiences are both relatable and heart-wrenching.

While some may find the lack of a clear moral or lesson frustrating, others will appreciate the authenticity and honesty of Carver's writing. He forces us to look at the world as it is, with all its beauty and ugliness, and to make our own sense of it.

Overall, this collection is a powerful and thought-provoking work that showcases Carver's unique talent as a writer.

I will never forgive those who rated this 5 stars and deceived me.

Raymond Carver is truly an amazing writer. His works have a unique charm that captivates readers.

His writing style is简洁 yet profound, able to convey complex emotions and ideas with just a few words.

Carver's stories often explore the ordinary lives of ordinary people,揭示 the hidden dramas and struggles that lie beneath the surface.

His characters are vivid and relatable, making it easy for readers to empathize with their experiences.

Whether it's a story about love, loss, or the search for meaning in life, Carver always manages to touch the hearts of his readers.

His works have had a significant impact on the literary world and continue to be widely read and studied today.

Wie immer, Raymond Carver bleibt ein unglaublicher Schriftsteller, dessen Werke für immer in unserem Gedächtnis bleiben werden.

On Goodreads, there are 13287 liars :/. It's really astonishing why this thing is rated so high. I can't help but wonder what makes people give such high ratings. Maybe there are some aspects that I haven't noticed or understood. However, I'm determined to do my part to lower it. I believe that by expressing my honest opinion and sharing my thoughts about this, more people will see the real picture and the rating might gradually change.

I think it's important to have an objective and critical eye when evaluating things on platforms like Goodreads. Just because something has a high rating doesn't mean it's necessarily perfect or worthy of such acclaim. We should all be brave enough to question and challenge the status quo, and not simply follow the crowd.

So, here I am, ready to take on this small task of trying to influence the rating and make others think twice about what they're rating and why.