Customer Reviews

Raymond Carver: Collected Stories (Library of America)

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Raymond Carver managed to capture, in his short stories, the power in the mundane: the extraordinary circumstances hidden within the subtleties of reality. COLLECTED STORIES showcases his immense talent. It collects his three volumes of fiction: "Will You Please Be Quiet, Please?", "What We Talk About When We Talk About Love," and "Cathedral," as well as the miscellaneous stories not gathered in those three volumes. The collection even offers an "alternate" version of the "What We Talk About" collection: the stories BEFORE they were heavily edited.

The end result is a compelling, powerful look at one of fiction's greatest writers. This is bound to become a standard textbook in English courses (as has been the fate of other "Library of America" books; I am currently enrolled in a graduate course that is using their Emerson collection). Don't let the formality fool you, however; Carver is an accessible writer, enjoyed by both literary and casual readers alike. (One of my very good friends is a "non-reader;" he hardly ever cracks a book, and yet he will go on for hours about the eloquence of Raymond Carver.) COLLECTED STORIES is, essentially, a must-have volume of literature for anyone who has ever professed to love reading. While it is hardly a complete overview of Carver's career (it includes only three essays, and completely ignores his poetry, which is equally brilliant), it is an essential stepping-stone to understanding one of 20th century literature's greatest contributors.

I'm a fan of horror stories. I'm also a fan of literary short fiction though I must admit to rarely being able to figure out what I'm supposed to glean from most stories of this kind. I reckon it's like someone who enjoys crossword puzzles or word games, the joy of decoding the secret meaning. About two years ago, I came across Ray Carver, his name meaning nothing to me up to that point. The more I read about him, the more intrigued I became. Here was a guy that was considered literary, but spoke in the language of the working class. So, I picked up a used copy of Where I'm Calling which set me on what I believe will be a life long fascination w/ this man's work. After 2 years, I can't admit to understanding everything Ray's written, but I know that at the end of each story, I will feel something that no other writer can make me feel: a sense of fear in the oddity and horror that man can display; and in many of Carver's later stories, a feeling of warmth when man can overcome his true nature and stumble upon moments of true understanding.

The first Carver story I read was called "Dummy", which depending on the collection you read, is also called "The Third Thing That Killed My Father Off". It was like a literary murder mystery. Now I know there've been other murder mysteries displaying a vast technical skill, but there was something about Carver's presentation that struck a chord w/ me. There are few writers who's words bring clearer images to my mind. There's an old writer's proverb "show, don't tell" and to my mind, there's no one who adhered more to this creed. Even stories who's underlying meaning may be nestled away in uncomplicated prose, the literal action of the story could not be easier to picture.

Another favorite which I read early on is called "Neighbors". In it, a couple charged w/ feeding the neighbors' pet and watering their plants while they're away, slowly begin to usurp the neighbors' lives and apartment. What ensues is nothing short of brilliant. Carver's insight into the human mind is better than anyone I've ever read. No matter how odd his characters act, everything is totally believable, and when you consider that you yourself are probably in one of these stories somewhere, doing something you yourself probably don't even notice you do, well, therein lies the horror.

The more I studied Carver's writing the more I found the influence of one of his earliest proponents, Gordon Lish. Lish was the fiction editor at Esquire magazine from the late 60's to the mid 70's and was responsible for bringing Ray's work to the attention of a wider audience. Early in their relationship Ray deferred all the editing responsibility to Lish, basically, I feel, because Lish had given him his biggest break. As time went on and Carver became more sure of himself as a writer, he and Lish would often clash on how Carver's story should be presented. While Ray is known as THE Minimalist, his work, though short, was often much longer than the general public was allowed to see. From the Notes in this Library of Congress edition, we learn that Carver's second collection was cut by as much as 55% from its original manuscript form. Carver begged Lish to reconsider the massive editing of the stories in this collection, but Lish steamrolled ahead with the result that Carver became even more famous. But it was a fame Carver felt he'd gotten the wrong way. These were not HIS stories, at least not the way he envisioned them. That is why this LOC edition is so important. Appended to the end of this stalwart collection is Ray's original manuscript for What We Talk About When We Talk About Love.

The difference, to me, is night and day. One of my favorite's from that collection is called "Viewfinder". Many critics have found it to be one of Ray's most surreal, angry stories, but when read in it's original form, I divine a totally different outlook, one that would become more apparent in his third collection Cathedral.

If you only buy one collection by Raymond Carver or even if you only have a passing interest in him, you will not be disappointed with this edition. It has nearly all of Carver's fiction plus what is arguably his most influential collection in the author's preferred, and intended, form.

I can't stress enough how amazing this author is. In just a few brief pages he can encompass what it is to be Human, all too human.

Collected Stories of Raymond Carver is the comprehensive book for all readers of Carver, not to mention any lover of short stories. This collection encompasses his entire career, from his early days to those stories published after his death, and all are excellent in depth and nature. Reading this book is a journey into the heart and soul of Raymond Carver, and this will be a collection for the ages.

Raymond Carver has been called a "writer's writer," presumably because he has never had great commercial success, and because his stories are so unusual. They seem to end abruptly, leaving the reader wondering exactly what happened. But that is Carver's skill: he doesn't spell everything out, preferring to let the reader understand what was not said -- the undercurrents in people's lives that lead them to act as they do. Carver's stories are unlike any others you've ever read.

And here, a thank you to the Library of America for publishing important writers, and for producing such well made books. It's a pleasure to hold them in one's hand and to turn the pages.

It was interesting to be able to read different versions of the same stories. It was eye-opening to see how much some of Carver's stories had been cut by Gordon Lish, his editor. It was also interesting to read some of the essays, which I had not read before. The essays also served as a means to catch a breath from the stories. It was wonderful to have them included, as they revealed another dimension of Carver's insight and talent.

On the other hand, the very completeness and sheer scope of this collection made it a formidable task to sit down and read from cover to cover. By the end, I was experiencing a bit of burnout; I expect that other readers might well feel the same way.

This collection might better be read a few stories at a time over a long stretch rather than all at once over a brief period. Overall, though, reading it this way it was quite an experience, and I am grateful that the Library of America was able to pull this collection together and publish it.

I wish I had read this book 40 years ago - it would have made me want to become a writer. If you have never read Raymond Carver, it is not too late! His stories are oblique, shocking, sudden, and tearful. He approaches his subjects from the side, so you don't see them full-face until you have finished, and they do not truly come into focus until an hour later, when their poignancy and humanity finally dawn on you. I LOVE THIS BOOK! It will be by my bedside for the rest of my life, and I will re-read these 90 stories forever!

What can I say that hasn't already been said a thousand times about Carver? This book demonstrates over and over again that he was one of the greatest American writers who ever lived.

This book is a treasure for Carver's lovers. I have most of his books , but it is still a different sensation to read his stories in chronological order. The timeline at the end of the collection helps to undrestand better the circumstances of writing each work. For those who dont know Carver yet - they will have the pleasure of discovering a great writer, and should next look for his poems, that are as heart-breaking and inspiring as his prose.

The book's jacket states that Carver's stories are "suggestive rather than explicit" - I say they are both. The work is deliciously dark, as well as, uncomfortably close. I recently read Where I'm Calling From, another collection of his stories, and there is significant overlap. I suggest this one because it provides a broader range and simply more stories.

Are You a Doctor? explores both curiosity and hope but not in the expected manner. Pastoral and The Cabin are essentially the same story but altered slightly as Carver fine tuned the latter. Both examine the futility of attempting to repeat exact moments and feelings. Viewfinder evokes Cheever and showcases the ability of both of them to dance on the edge of madness within a sane backdrop. Tell the Women We're Going carries a hint of Stephen King - enough said.

The Pheasant is abrupt much like the accident it depicts. Preservation tells the story of one in a marriage holding it together until they no longer can. The Train, written for John Cheever, picks up on one of his own stories and extends both the mood and the mystery of the original. It is hard to describe any of Carver's work as bright and positive but Fever comes as close as any. It was among my favorites for its hope and human connection. Kindling also carries a feeling of redemption but Carver, bless him, leaves the conclusion to the reader. One that continues to sit with me is What Would You Like To See? - it is simple, compelling and worthy or a re-read or two but, then again, all of Carver's stories are.

Reading Raymond Carver leads one to think "I can write this well."

Really? Carver is the master of the quick and telling sentence.

Best left to professionals. Amateurs should not attempt this in the dark of night in the cloister of the home study.