After years of hearing that Raymond Carver was the paragon of high-quality short story writing, I ultimately decided to read one of his books.

I wholeheartedly support the use of sparse and concise prose to describe the minutiae of daily life, as long as it uncovers the extraordinary within the ordinary.

However, as I read many of the stories in "Cathedral", I continuously found myself thinking, "And...?" I didn't feel that Carver's subtle observations led to any profound insights.

The only story that remains vivid in my mind is "A Small, Good Thing", where a couple whose child is killed in a hit-and-run accident is harassed by the baker they hired to make the boy's birthday cake, which they obviously never picked up. It is an uneasy and touching tale of grief and obsessive indignation.

Perhaps "Cathedral" isn't the finest example of Carver's writing, and maybe I should persist in reading his other works. But I can't help but feel that I've lost my invitation to the Raymond Carver Adulation Society.

Review of title story, Cathedral

When I was a child, I was scared of an elderly neighbour. In my memory, which might be exaggerated, she was a hunchback, always wore black, and her hands were as gnarled as the walking stick she waved threateningly at passing children. I associated her with wicked witches from fairytales. It wasn't just her. I was wary of anyone with a physical deformity or skin condition. However, I was more sympathetic to those in wheelchairs or who were blind, though I assumed their impairments were total.

As I grew up, like most people, and learned more about my fellow humans, my fear or loathing ebbed away. In that time, society has also grown up. People with disabilities have become more visible, and there is more provision in various aspects such as education, architecture, technology, pharmaceuticals, and surgery. There is also more acceptance, although there is still room for improvement.

Which one is blind?

This story is from 1983, but it feels at least a generation older. The narrator has a bizarre and horrible revulsion for blind people. He knows them only from movies and expects them to wear dark glasses, use a cane, move slowly, never laugh, be clean-shaven, and unable to smoke!

There are unrelated reasons he may be uneasy about the visit of Robert, who his wife worked for one summer a decade ago. But his disgust of the blind is visceral, ignorant, and general. His opening words are “This blind man”, quickly and repeatedly followed by “the blind man”, and also “her blind man”. No name; just a disability.

Revelation?

I didn't fully believe in the character of the husband, so I wasn't fully convinced by his possible Damascene moment. But it was a sort of inversion of a familiar fable.


Image: Illustration of the story of blind people trying to describe an elephant by feeling one small part each. (Source)

Quotes

•\\t“It was a little wedding - who’d want to go to such a wedding in the first place?” [Robert’s wedding to a sighted woman]

•\\t“I found myself thinking what a pitiful life this woman must have led. Imagine a woman who could never see herself as she was seen in the eyes of her loved one... Someone who could wear makeup or not - what difference to him?”

See also

I've enjoyed a collection of Carver short stories before, both in their original form Beginners, and their highly edited form ( see my review What We Talk about When We Talk about Love). This was different.

Short story club

I reread this as one of the stories in The Art of the Short Story, by Dana Gioia. I'm aiming to read one story a week with The Short Story Club, starting 2 May 2022.

You can read this story here.

You can join the group here.

The third collection of Carver's work that I have now read is truly remarkable. Alongside What We Talk About When We Talk About Love, it will likely be the best short story collection I'll ever encounter in my life.

This collection once again presents some outstanding short stories. The prose is scrupulously simple, yet filled with compassion and honesty. Carver has a keen eye for describing and revealing the world as he perceives it. He manages to create incredibly real situations within a short span of time.

He adeptly captures emotions, actions, and mannerisms, as well as those little things in life that we often take for granted and fail to notice. He takes the ordinary, mundane people of America and makes them utterly engaging to read.

This collection, more so than his others, has a certain edge to it. Carver is a true master of short fiction, one of a kind. All twelve stories in this collection are nearly flawless, without a single dud. If I had to select a third of them as my absolute favorites, they would be "A Small, Good Thing," "Vitamins," "Where I'm Calling from," and "Cathedral."

Each of these stories has its own unique charm and power, leaving a lasting impression on the reader. Carver's ability to craft such profound and impactful stories in a concise format is truly remarkable and a testament to his literary genius.

Overall, this collection is a must-read for anyone who appreciates the art of the short story and wants to experience the beauty and depth of Carver's writing.

Today, I completed the reading of "The Cathedral" by Carver, and along with it, I also finished reading all of his short stories that have been published in Greek. Generally speaking, I consider myself lucky to have read them and I highly appreciated the depth, themes, and writing style of Carver. He was a writer who literally took the ordinary and made it precious. A simple phrase heard randomly somewhere could inspire him to create a story with simple, everyday protagonists, veterans, whom we meet at a random moment in their lives, and all of this would seem like the most interesting thing you have ever read.

Specifically for "The Cathedral", I would say that it was not my favorite among his short story books, as it had some very powerful moments, but also some that I think I would have forgotten in a week or so.

My favorite short stories were of course what I think is everyone's favorite, "A Small, Good Thing", "Feathers", "The Fever", and of course the eponymous "The Cathedral".

Those of you - few, I think - who have not read him yet, just do it!!!!

“I’m always learning something. Learning never ends. It won’t hurt me to learn something tonight.” This simple yet profound statement sets the tone for an interesting story. A man finds himself uncomfortable about the visit of his wife’s long-time friend, a blind man. All he knows about blindness is what he has seen in movies, which may not be an accurate portrayal. It’s a rather straightforward story with no blatant moral or point. However, the way it is written makes the reader go beyond the surface and discover something deeper, much like looking at an Impressionist painting. The details may not be immediately clear, but there is a certain charm and essence that draws you in. Beautifully crafted, this story makes you feel a little of what the narrator is feeling: a sense of expansion. It makes you realize that there is more to life and people than what meets the eye, and that learning and understanding can come from the most unexpected places.

“I’m always learning something. Learning never ends. It won’t hurt me to learn something tonight.”

I don't like storybooks or tales, but I expected more from this one.

I thought it would be different from the others I've read. Maybe it would have a unique plot or interesting characters.

However, when I started reading it, I was disappointed. The story was quite ordinary and didn't really catch my attention.

The characters seemed flat and didn't have much depth. I found myself losing interest quickly and had to force myself to finish the book.

Overall, it didn't meet my expectations, and I don't think I would recommend it to others who are looking for an exciting and engaging read.

At first, from all these descriptions of people's situations, I was tired.

But then, I saw that I was embodying them like this. I saw that I was understanding them very well. I was comprehending them. Even if they felt things that I had not felt until now, that I had not touched until now. And it was a very good feeling. I am grateful for this work. :)

This experience of imagining and understanding others' situations has been quite profound. It has made me realize how diverse and complex people's emotions and experiences can be.

By putting myself in their shoes, I have gained a new perspective and a deeper appreciation for the human condition.

It has also made me more empathetic and understanding towards others in my daily life.

I look forward to continuing this work and further exploring the rich tapestry of human experiences.

Hace un tiempo, I read Escribir ficción, a highly recommended guide for learning about the aspects of writing and getting started with it. In that book, the story of Catedral was taken as a reference for analysis.

That was my first encounter with Raymond Carver. Although at first it didn't say much to me, little by little I was discovering all that the story concealed. In the end, I liked it so much that I decided to get the book that, in addition to Catedral, brought together 11 other short stories.

It could be said that all of them tell more or less common stories of people going through difficulties. Carver's style is direct and austere, but you quickly get used to it. It is not difficult to read. The problem is that in most cases I practically didn't understand anything. That is, I don't know where he wants to go with each story. They all end abruptly. Perhaps, the ideal (at least in my case) would be to accompany them with an analysis that explains where the shots are going.

However, there are three stories to which I did find meaning and that reached me in one way or another: Parece una tontería, Fiebre and Catedral.

But although these separately hover around 4/5 stars, I can't deny that the whole has been disappointing. What a pity.

As I was reading each of his stories, it felt as if a garden of flowers was burning beneath my lips; the dreams that were slipping away.

These stories had a certain charm that drew me in, making me forget about the world around me.

The vivid descriptions and the unique characters he created came alive in my mind, painting a beautiful yet bittersweet picture.

I could almost smell the fragrance of the burning flowers and feel the loss of those precious dreams.

It was a powerful experience that left a lasting impression on me.

I found myself completely immersed in his world, eagerly turning the pages to see what would happen next.

His words had the ability to touch my heart and make me reflect on my own life and the dreams that I too had let go.

It was a reminder that sometimes, in the pursuit of other things, we lose sight of what truly matters.

But through his stories, I was able to rekindle that sense of longing and hope for the dreams that may still be within reach.

Reseñar "Catedral" no es tarea fácil, porque la magia de estos cuentos es precisamente lo que se escapa, eso que no puede ser destilado del relato, porque el relato ya es el producto de otra destilación más profunda y compleja.

Para empezar, debo decir que es mi primer acercamiento a este autor y su obra. Aunque tenía una idea general de que la literatura de Raymond Carver es sombría y pesimista, con personajes que son siempre perdedores pertenecientes a la clase trabajadora, desempleados con problemas de alcoholismo, etc., esto es solo parcialmente cierto. En realidad, Carver puede ser mucho más luminoso y alentador de lo que parece. El reto para el lector es llegar a las entrañas de sus obras y darse cuenta de esto.

El realismo de Carver es menos cochambroso y más introspectivo, a veces incluso autodestructivo. Su lenguaje no es tan rudo como el de algunos de sus contemporáneos. Si clasificamos sus cuentos dentro del "realismo sucio", es porque las vivencias que narran son obscenamente cotidianas y morbosamente verídicas.

Los antihéroes de Carver no son renegados, promiscuos y buscapleitos como los de otros autores. En cambio, son personas comunes y corrientes que ven la derrota con resignación. Estos personajes reaccionan ante el infortunio con indiferencia, perplejidad y hasta cierta pasividad. El autor evita toda idealización y reivindicación, dando preferencia a valores como la resistencia y la entereza.

En los relatos más cortos y escuetos aparece el Carver pesimista y minimalista del que tanto se habla. Algunos de estos cuentos tienen un final abrupto. Sin embargo, en aquellos cuentos que presentan un verdadero desenlace, el autor se da la oportunidad de desarrollar a fondo su genio creativo y su sensibilidad trágica. En estas distancias más largas, puede hablar de la empatía, la entereza y el amor por la vida.

"Catedral" es una obra que nos muestra doce historias con personajes corrientes y vulgares. Aunque difícilmente atraerían nuestra atención, Carver no los explica, sino que nos guía para que intuyamos la esencia de una humanidad sumida en la rutina, los vicios, el hartazgo, el dolor, el desapego y las falsas válvulas de escape. Es una obra que debe ser dejada llevar y escuchada.

I am no longer the right person to express my opinion about Carver. It is clear to me that he is the storyteller who, without doing anything at all, throws me into his world and moves me without even trying.

His stories have no clear beginning or end. They speak through the silences of the heroes, and often do not even go beyond the narrow boundaries of a room.

If Carver were Greek, he would write about Drapezonas and Perama. His heroes would look out the window and see the balcony across the street with the iron wardrobe and the plastic chairs that the gypsies sell.

They would play in Spirokouto but without making a sound.

They would take the 040 to go to work early in the morning.

They would be called Niko, Vassiliki, Voula, and Sotiria.

Carver's works have a unique charm that lies in their simplicity and the way they capture the essence of ordinary life. His stories make us think about the little things that we often overlook and appreciate the beauty in the mundane. Whether he is writing about love, loss, or the struggles of everyday life, Carver always manages to touch our hearts and make us feel something.

Although his stories may seem to lack a traditional plot, they are filled with emotion and depth. The characters are real and relatable, and we can easily imagine ourselves in their shoes. Carver's writing style is简洁 and straightforward, yet it manages to convey complex emotions and ideas.

In conclusion, Carver is a master storyteller who has the ability to transport us to another world and make us see things from a different perspective. His works are a testament to the power of literature to touch our hearts and make us think.

Human beings have an inherent inclination to seek meaning in all aspects of life.

We cannot progress through the "stream-of-life" without understanding the purpose of our actions.

Although we may act irrationally at times, perhaps it is due to the irrational motives underlying such behavior.

Our innate curiosity, deeply ingrained within us, compels us to uncover the meaning of everything.

If we encounter a wall of frustration when finding no meaning, our consciousness fabricates one from the womb of imagination.

Perhaps we have devised all our morals, dogmas, and religions to endure the absurdity of life, which has no inherent meaning.

The "innate" tendency of mankind is manifested through the grey matter of the reader, who finds himself clueless when confronted with the short story "Cathedral."

He searches with a throbbing heart in the overwhelming darkness, longing to find something to hold onto.

I, as an ordinary reader or perhaps representing all readers, find myself looking into the eerie silence of loneliness.

However, nothing reverberates from it. The enormous and irresistible silence seems to envelop my entire being, and I become one with the characters of the story.

I am at a loss for words, mirroring the characters of Raymond Carver, as if their consciousness fuses with mine, underlining universal brotherhood.

Ironically, I have wasted quite a few words until now to communicate the eternal "silence" of my (our) being.

Nevertheless, we should not forget that irrationality plays a significant role in human life.

Let's come together and attempt to find some sanity amidst the insanity that prevails in our lives.

The story "Cathedral" by Raymond Carver presents an ordinary narrative with uncomplicated characters, as if they have been plucked from our own lives.

The narrator and his wife strive to find their way through life in the presence of a blindman, Robert, who has been invited by the wife to visit them.

Robert has lost his wife and has been a good friend of the narrator's wife.

The narrator's perception of blindness is influenced by his shallow understanding from movies, which often dwells in the romantic elements, oblivious to the reality of life.

The narrator feels as if the guest is encroaching upon his sacred personal space and is distressed about the blindman's arrival in his home.

What follows is a scathing psychological attack by the narrator on the blind man, Robert, in his mental space.

Of course, Robert is completely unaware and unconscious of it.

The narrator shows his contempt towards Robert to the reader, whom he believes is one of his accomplices, overlooking the fact that the reader's sympathy may or may not be with him.

The reader watches with keen interest the psychological tussle between the narrator and the blindman.

However, the progression reveals the process of how people become acquainted with each other.

The reader finds himself confined within the consciousness of the narrator since he is the voice of the author and thus observes this world from the narrator's point of view.

However, the kind creator of this universe, the author, takes it upon himself (though he maintains his distance from the narrative throughout the story) and frees the reader from the narrator's consciousness to view the universe from others' perspectives as well.

The reader's heart goes out to the blindman as the narrator continuously nudges the blindman's existence with disdain.

Just as the reader is almost certain of his decision based on morality and about to declare his "choice" (as human beings, we are condemned to do), the author, who has thus far remained completely detached from the narrative, extracts a jewel from his trick-box and surreptitiously but surely alters the course of the narrative without much fuss.

The narrator acts upon the faint yet strong will of the author and eventually realizes something beautiful and priceless through the blindman, Robert, which his eyes could not see.

The conscious exclusion of sophisticated and fashionable literary tricks and techniques does not prove to be a limiting factor for the author in infusing his characters with various human emotions such as jealousy, pain, regret, sorrow, absurdity, and loneliness.

The words are utilized to create an emotional impact on the reader through his active observation, evoking various emotions and ideas, much like a haunting expressionist painting.

His world represents the great stoic American dream with all its virtues and flaws.

There is a deliberate effort by the author to depict the non-verbal communications occurring among the characters.

As we observe, body language is extensively employed to convey the feelings of the characters.

And at the heart of this intentional effort lies the moral dilemma of sight and blindness, as to what we can perceive without our eyes and what we cannot decipher even with them.

We require evocative emotions such as empathy to understand the lives of our fellow human beings, and of course, we do not need many words to communicate through these emotions.

The ending of the story is kept in a truly existential nature, as it is left open to multiple interpretations by the readers, thereby not forcing the reader to follow any well-trodden path of allegory.

The author suppresses his human instinct of taking sides with any character, thereby absolving himself of any moral burdens.

Raymond Carver meticulously crafted a prose with minimal words by retreating to the ditches of obscurity and oblivion, observing from a distance as it creates a profound impact of human emotions without employing any extravagant or outrageous literary techniques.

There is an obvious hint of minimalism, although the author never truly desired to be labeled as such.

However, the influence of authors like Ernest Hemingway cannot be overlooked, as the reader is expected to play an active role here in filling in the gaps of the narrative to move it forward.

He refuses to use the convoluted and perplexing traits of postmodernism but instead rides on the description of the mundane events of everyday life to create a prose that is humane in nature and conveys our lives in an effortless yet profound and intense manner, as if his prose is a silent revolt against postmodernist literature.

In the process, he deprives the critics of their livelihood, forcing them into an existential crisis, and thereby mockingly laughing at the critics to make them realize that they have been stealthily checkmated, along with the reader.

I discovered another gem through The Short Story Club.