Where I'm Calling From: Selected Stories (Anglais) Broché – 18 juin 1989
|Neuf à partir de||Occasion à partir de|
- Choisissez parmi 17 000 points de collecte en France
- Les membres du programme Amazon Premium bénéficient de livraison gratuites illimitées
- Trouvez votre point de collecte et ajoutez-le à votre carnet d’adresses
- Sélectionnez cette adresse lors de votre commande
Produits fréquemment achetés ensemble
Les clients ayant acheté cet article ont également acheté
Descriptions du produit
Revue de presse
Présentation de l'éditeur
By the time of his early death in 1988, Raymond Carver had established himself as one of the great practitioners of the American short story, a writer who had not only found his own voice but imprinted it in the imaginations of thousands of readers. Where I’m Calling From, his last collection, encompasses classic stories from Cathedral, What We Talk About When We Talk About Love, and earlier Carver volumes, along with seven new works previously unpublished in book form. Together, these 37 stories give us a superb overview of Carver’s life work and show us why he was so widely imitated but never equaled.
From the eBook edition.
Aucun appareil Kindle n'est requis. Téléchargez l'une des applis Kindle gratuites et commencez à lire les livres Kindle sur votre smartphone, tablette ou ordinateur.
Pour obtenir l'appli gratuite, saisissez votre numéro de téléphone mobile.
Détails sur le produit
Quels sont les autres articles que les clients achètent après avoir regardé cet article?
Commentaires en ligne
Meilleurs commentaires des clients
Toujours des mains tendues pour offrir ce que les humains peuvent se donner comme réconfort.
Commentaires client les plus utiles sur Amazon.com (beta)
This volume is a great introduction to Carver's stories because it represents a selection of his best work from every phase of his career. It is clear from the first story that his special gift is in somehow making a slice of life universal. His stories have hardly any plot and character is revealed rather than described. The essense of his character's lives are distilled into a few scenes wherein the reader can grasp a universe of unspoken meanings. The simplest things in Carver's hands take on a depth of meaning and a resonance that tends to haunt one long after the story is read. There is no overt artifice employed; the stories are deceptively simple. Yet all of these stories, like good poems, pack lots of meaning into a compressed form. His stories are not so much 'about' love, grief, deception, failure, longing and hatred as they are captured moments that embody these elements of the human condition and allow us to really feel what the characters feel. The very lack of exposition and detailed context is part of what makes these moments so powerful. Like a Rorschach ink blot, the short scenes depicted can call forth from each reader a variety of different interpretations and meanings. That is perhaps what is really great about these stories. Every reader can agree on the overt content, but no two are likely to agree about what they really mean, despite almost everyone having a strong emotional response to them. This is unique and superior writing that no lover of literature should miss.
But Carver's tone and style changes in the stories that follow. "What We Talk About When We Talk about Love" and the gut-wrenching "So Much Water So Close To Home" take on a new level of story-telling where Carver gives us a more intimate look at his characters. The last two of the previously published stories are nothing like the earlier stories. In "Cathedral", a typical Carver married man--distant, cynical, and slightly smug--makes surprising contact with another human being, presumably for the first time, in the most unlikely of situations. It is almost a salvation. "A Good Small Thing" (which was a revision of an earlier story called "Scotty") is nothing less than a masterpiece. In Carver's earlier career, this story would have ended bitterly and, perhaps, indifferently. Instead, this story ends up with an astonishing flavor of hope, forgiveness, and even closure. The seven "New Stories" at the collection's end just drive home the fact that Carver was really moving forward or at least in a new direction. I defy anyone to read "Intimacy" or "Elephant" and say, "Typical minimalism." I would place a heavy bet that the reader would reply the same way I did, "Damn! Damn! Can you imagine what he'd be writing if he were still with us?"
Rocco Dormarunno, Author of The Five Points
Mel's character is indicative of the kind of complexities and contradictions that Carver dramatizes in his very readable stories.
In his early days, Carver was a hell-bound alcoholic, and his early writing reflects his way of life. "What's In Alaska?" details the unraveling of a couple's relationship. Like Hemingway's "Hills Like White Elephants," the story progresses through revealing and anguishing dialogue.
Carver eventually managed to pull himself together and his writing became, in turn, beautiful, poetic and somewhat hopeful. His story "Cathedral" is a masterpiece; its characters, as with those in most of his stories, are trying to overcome their apathy and inarticulateness. "Cathedral" possesses a small shimmer of joy. Perhaps his best work, the story involves a husband's difficulty in accepting a blind friend of his wife's. "I wasn't enthusiastic about the visit," he states in the beginning of the story. The blind man comes to the house and spends the evening with the couple. The husband is uncomfortable with the blind man, his way of looking at things, his smell. To break the ice he offers the man some pot, and the two men smoke together. The story builds as the two talk in front of the television together and it ends with a perfect, shimmering moment.
Carver managed to drop his drinking habit, but his love of smoking cut his career and his life short. His life ended just as the lives of his characters were beginning to brighten up. Carver has left us with a collection of characters that seem to be a bit out of touch, like Captain Ahab on Demerol, but which one of us is really any different? One leaves a Carver story feeling like the narrator of his story "Feathers": "I knew it was special. That evening I felt good about almost everything in my life."