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What We Talk About When We Talk About Love Stories

Carver, Raymond

36,210 ratings by Goodreads
ISBN 10: 0394516842 / ISBN 13: 9780394516844
Published by Alfred A. Knopf, New York, 1981
Condition: Near Fine Hardcover
From Gerry Kleier Rare Books (Martinez, CA, U.S.A.)

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About this Item

A clean copy of the 3rd Printing in a jacket with a crease to the front panel. However.this copy has been INSCRIBED and SIGNED by Carver to his Brother! " For my brother, James- with love. Ray October, 1981." A great association copy. ; 0.7 x 8.4 x 5.8 Inches; 159 pages; In his second collection of stories, as in his first, Carver's characters are peripheral people--people without education, insight or prospects, people too unimaginative to even give up. Carver celebrates these men and women. Bookseller Inventory # 263425

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Bibliographic Details

Title: What We Talk About When We Talk About Love ...

Publisher: Alfred A. Knopf, New York

Publication Date: 1981

Binding: Hardcover

Book Condition:Near Fine

Dust Jacket Condition: Near Fine

Signed: Signed by Author(s)

About this title

Synopsis:

Short stories that feature a pantheon of losers, peripheral people, and men and women without education, insight, or prospects who, ironically, are too unimaginative to ever give up

Review:

"What We Talk About When We Talk About Love" is not only the most well-known short story title of the latter part of the 20th century; it has come to stand for an entire aesthetic, the bare-bones prose style for which Raymond Carver became famous. Perhaps, it could be argued, too famous, at least for his fiction's own good. Like those of Hemingway or any other writer similarly loved, imitated, parodied, and reviled, these stories can sometimes produce the sense of reading pastiche. "A man without hands came to the door to sell me a photograph of my house." "That morning she pours Teacher's over my belly and licks it off. That afternoon she tries to jump out the window." "My friend Mel McGinnis was talking. Mel is a cardiologist, and sometimes that gives him the right." What other writer ever produced first sentences like these? They are like doors into Carverworld, where everyone speaks in simple declarative phrases, no one ever stops at one beer, and failure or violence are the true outcomes of the American dream.

Yet these stories bear careful re-reading, like any truly important and enduring work. For one thing, Carver is one of the few writers who can make desperation--cutting your ex-wife's telephone cord in the middle of a conversation, standing on your own roof chunking rocks while a man with no hands takes your picture--deeply funny. Then there is the sheer craft that went into their creation. Despite their seeming simplicity, his tales are as artfully constructed as poems--and like poems, the best of them can make your breath catch in your throat. In the title piece, for instance, after the gin has been drunk, after the stories have been told, after the tensions in the room have come to the surface and subsided again, there comes a moment of strange lightness and peace: "I could hear my heart beating. I could hear everyone's heart. I could hear the human noise we sat there making, not one of us moving, not even when the room went dark."

Much of what happens in What We Talk About When We Talk About Love (1981) happens offstage, and we're left with tragedy's props: booze, instant coffee, furniture from a failed marriage, cigarettes smoked in the middle of the night. This is not merely a matter of technique. Carver leaves out a great deal, but that's only a measure of his characters' vulnerability, the nerve endings his stories lay bare. To say anything more, one feels, would simply hurt too much. --Mary Park

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