Whereas before, at the start of the story, the act of exploring the Stones' apartment was just something a little different and exciting to do, it has now quickly become almost an obsession. Bill doesn't even want to go to work anymore and gets his wife to call in sick for him.
At Night the Salmon Move. If It Please You. In a Marine Light: A New Path to the Waterfall. In the Year illustrated broadside.
My Father's Life, illustrated by Gaylord Schanilec. Uncollected Writings, edited by William L. The World of Raymond Carver. Editor, We Are Not in this Together: Stories, by William Kittredge. Another Side of Carver" by William L.
A master of what has been termed "minimalist hyperrealism," he belongs to a tradition of short story writers beginning with Anton Chekhov and continuing with Ernest Hemingway —two of his acknowledged mentors.
Because reality for Carver exists only in the hard, bare outlines of an ambiguous event, these early stories often have more the sense of dream than everyday reality. However, the husband begins to stay longer and longer in the apartment, taking trivial things and then trying on the clothes of both the vacationing man and his wife.
The story comes to a climax when the husband discovers that his wife is similarly fascinated, and, against all reason, they begin to hope that maybe the neighbors won't come back.
When they discover that they have locked themselves out of the apartment, they hold on to each other desperately, leaning into the door as if "against a wind. But the understated language makes it clear that this is not a story about sexual perversion, but rather about the fascination of visiting someone else's secret inner reality and temporarily taking on their identity.
The desperation the couple feels at the conclusion suggests the impossibility of truly entering into the lives of others, except to visit and inevitably to violate. Carver only obliquely suggests a broken marriage as the motivation for this mysterious gesture by noting that the bed has a reading lamp on "his" side of the bed and a reading lamp on "her" side of the bed—though the man's wife does not appear in the story.
The minimalist drama of the story begins when a young couple stops and makes offers for some of the furnishings, all of which the man indifferently accepts.
Nothing really happens; the man plays a record on the phonograph and the man and the girl dance. The story ends with a brief epilogue weeks later when the girl tells a friend about the incident: There was more to it, and she was trying to get it talked out.
After a time, she quit trying. By placing all his furniture on his front lawn, the man externalizes what has previously been hidden inside the house. The young couple metaphorically "replace" the older man's lost relationship by creating their own relationship on the remains of his.
However, the story is not a hopeful one, for the seemingly minor conflicts between the two young people presage another doomed marriage. Indeed, as the girl senses, there is "more to it," but she cannot quite articulate the meaning of the event, can only, as storytellers must, retell it over and over again, trying to get it talked out and intuitively understood.
Carver's two later collections Cathedral and Where I'm Calling From represent a shift in his basic theme and style. Whereas his early stories are minimalist and bleak, his later stories are more discursive and optimistic.START HERE IF YOU KNOW WHAT SUBGENRE CATEGORY YOU LIKE ALIENS ON EARTH: they came from outer space ALTERNATE WORLDS: history might have happened differently ANTIGRAVITY: what goes up may not come down BAMBI'S CHILDREN: animals who speak, think, or act human BEAM ME UP: matter transmission, techno-teleportation BEYOND THE FIELDS WE KNOW: magical world .
Raymond Carver is an imposing figure in contemporary American fiction. Carver is renowned for his short stories and respected for his poetry.
His style and themes expositively characterize post-modern society, and some critics consider Carver as the pioneer of minimalism. Raymond Carver’s fiction, especially his earlier stories, has been described as minimalist because of its remarkable flatness of tone, unadorned language, spare plot lines, and characters bereft.
A caveat for Carverites: Robert Altman's "Short Cuts" shatters, transplants and distorts the short stories of Raymond Carver. Yet this is an impressive work by the revitalized director of. The stories in What We Talk About When We Talk About Love exemplify the metaphor of photography Raymond Carver himself used to describe his literary approach.
They hinge on . Raymond Carver’s spare dramas of loneliness, despair, and troubled relationships breathed new life into the American short story of the s and ’80s.