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What We Talk About When We Talk About Love: Stories (Vintage Contemporaries) [Englisch] [Taschenbuch]

Raymond Carver
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Kurzbeschreibung

18. Juni 1989 Vintage Contemporaries
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.

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What We Talk About When We Talk About Love: Stories (Vintage Contemporaries) + Will You Please Be Quiet, Please? (Vintage Classics) + Cathedral (Vintage Classics)
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Produktinformation

  • Taschenbuch: 176 Seiten
  • Verlag: Vintage; Auflage: Reissue (18. Juni 1989)
  • Sprache: Englisch
  • ISBN-10: 0679723056
  • ISBN-13: 978-0679723059
  • Größe und/oder Gewicht: 20 x 13 x 1,8 cm
  • Durchschnittliche Kundenbewertung: 4.4 von 5 Sternen  Alle Rezensionen anzeigen (16 Kundenrezensionen)
  • Amazon Bestseller-Rang: Nr. 19.179 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Produktbeschreibungen

Amazon.de

"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

Synopsis

Stories feature men and women without education, insight, or prospects, who, ironically, are too unimaginative to ever give up.

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2 von 2 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen THE PROSAIC SENSE OF LIFE 21. Juni 2000
Format:Taschenbuch
Raymond Carver is one of the few who has succeeded in describing the sense of everyday life in modern times, the mystery hiding behind the status quo of things, the suspended menace of a sudden revelation about life. It is the "poetry of prosaic", which Robert Altman illustrates in one of his best movies -- Short Cuts -- based on some of Carver's stories. It is the other face of the Great Dream, stories of common people, labourers, alcoholics, adulterers, always on a balance between hope and cynical delusion, when life's responsibilities weighing on each of us, overcome us and confirm that nothing is certain - marriage and family, work, health. Carver is a writer of short stories - one of the greatest in this field - who has followed in the path of the rich American tradition of Poe, Hemingway and Cheever. Inevitable his choice of the short measure, since Carver writes by subtraction, with and anti-gracious quickness, a realistic dryness of prose that makes sentences almost pure narrational algorithms, an open bundle of nerves transmitting immediate images. Carver's short stories are true and proper epiphanies, splinters of America illuminating the frozen moment where the essence of things rends the veil of a low and inconclusive reality: and everything appears clearer to us, as in the extraordinary story "Cathedral" (q.v.), where one of the main characters, a blind, succeeds in making another character draw a cathedral with his eyes shut, on a sheet. Thus the wonder, the joy for a creative experience so minimal yet so intense and revelatory.
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5.0 von 5 Sternen Carver: An American Chekov 15. Januar 2000
Format:Taschenbuch
What the LA "reader" does not mention is that the Gottlieb connection is highly controversial -- more of an interesting theory than a fact. Even so, why criticize a young author for being influenced -- even molded -- by an editor? The author/editor relationship is complex, contentious, controversial -- and, in this case, extremely rewarding. If Gottlieb shares any credit for shaping Carver into a short story writer who can be mentioned in the same breath as Chekov and Hemingway, then I say, "Thanks a lot, Bob!" Nothing happens in the stories? C'mon, LA reader. Carver captures that unique American disconnection and emotional emptiness as well as any author imaginable. And he still manages to be funny! (Similarly, the movie "American Beauty" does a better job of being Carveresque than Altman's "Short Cuts" did.) This book is essential reading -- although "Where I'm Calling From" offers a more complete look at his entire career.
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5.0 von 5 Sternen This is his masterpiece. The essential Carver work. 21. März 1998
Von Ein Kunde
Format:Taschenbuch
Raymond Carver's friend Tobias Wolff (see Carver's essay on his friendship with Wolff and Pulizer Prize winner Richard Ford in Carver's collection NO HEROICS,PLEASE) said that when he read the short story "Cathedral" for the first time he had the feeling he was levitating off the couch where he was stretched out reading. I had the same response to this essential work WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE as I emerged from my college library where I should have been studying, but was transfixed by this book I had just picked up by chance the day before. I had the feeling that I was floating across the campus toward the cafeteria for my evening meal after reading this book in one sitting. Who is Raymond Carver? Who is this guy ?, I kept saying to myself, feeling that all the persons and places I passed just NOW were the loveliest things I'd ever seen. How could anyone make me feel like that? I'm still wondering today and that was fourteen years ago! I might talk about Raymond Carver in very sophisticated terms today but my initial primal response still seems inexplicable. I have read everything I could get my hands on that Carver ever wrote or said, but this is the book in which Carver captured the solitary American experience at its heartfelt core. It shows what happens to us, the price we pay for our dreams , loves, and terrors. Or what is, perhaps, as the American poet Michael Palmer has characterized it: the "psychic cost of the American project." Carver wrote this book in the late 1970's just after alcoholism nearly killed him and he had given up everything just to SURVIVE (including, he thought back then, any sense that he might ever write again). My recommendation goes beyond the fact that this is my first and favorite Carver book. Why? This is it! Lesen Sie weiter... ›
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4.0 von 5 Sternen White Trash also suffers 9. Dezember 1997
Von Ein Kunde
Format:Taschenbuch
Besides its title being just wonderful, this book, alongside all the others written by Raymond Carver, is a raw chronicle of modern world, of a rootless time and of the lives that live in it. These lives by people from the suburbs, meeting in crossroads and malls, tragic in their own plainness, looking for a hope that will never show up. Carver tells us of the people that are never on a TV literary debate, that do not buy the last book "everyone intelligent people should read"; thousands of miles from our decadent postmodern litterary intelligentsia. If you think litterature only should deal with "people worthy of being portrayed", never read Carver. It is not surprising why Carver was born in the USA. His stories tell us of the futur of our societies, of those faces we cross -me included- in the supermarket and that we despise because they do not look as succesful as us, of how a world of over-consumption lead to some to a hell call alcohol (or drugs, or bulimy, or addictions, or violence). Carver showed us the hidden face of the world we refuse to see, but which lies next door, car even the white trash and the poor also suffers . Thank you so much, Mr. Carver, for letting me know.
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Die neuesten Kundenrezensionen
4.0 von 5 Sternen Let's all get our facts straight.
Although I am a fan of Raymond Carver and this book, the purpose of my review is merely to clarify that the editor alluded to in the dialogue below is named Gordon Lish. Lesen Sie weiter...
Veröffentlicht am 31. Mai 2000 von Bryan Charles
2.0 von 5 Sternen over-rated
Raymond Carver is way over-rated. And, as has previously been stated below, he wasn't really the author of his stuff... Lesen Sie weiter...
Am 8. Februar 2000 veröffentlicht
5.0 von 5 Sternen Beautiful little Carvings
Reading Carver is like playing cribbage or shooting 9-ball. You get into it, then it's over, only there's more, but different. Lesen Sie weiter...
Am 7. Februar 2000 veröffentlicht
5.0 von 5 Sternen The One True Thing
I happened upon Carver completely by accident. My roommate had left behind a xerox of "A Small, Good Thing" and I started reading it, and I was so changed by it, so hurt,... Lesen Sie weiter...
Am 3. Februar 2000 veröffentlicht
5.0 von 5 Sternen The most important book of the late 20th Century
Please discount the inane ramblings of the "reader" from Los Angeles. He/She exposes his/her true colors with the complaint that "nothing happens" in these... Lesen Sie weiter...
Veröffentlicht am 7. Januar 2000 von Jennifer
1.0 von 5 Sternen Dreadful
Read the August 9, 1998 issue of "The New York Times Magazine" and you'll see that Raymond Carver is only nominally the author of these stories. Lesen Sie weiter...
Am 27. Oktober 1999 veröffentlicht
5.0 von 5 Sternen Martini-land
Here it is, folks; this collection of short stories, Carver's best in my mind, will squeeze emotion out of you. Lesen Sie weiter...
Am 29. November 1998 veröffentlicht
5.0 von 5 Sternen The pain of living second hand never so vivid before Carver
Carver has compiled a collection about people failing to make connections and living second hand. If "Why Don't You Dance?" doesn't break your heart, you may not have one
Am 29. Juli 1998 veröffentlicht
5.0 von 5 Sternen Carver shows us the universal in the particular
Despite other reviews calling Raymond Carver 'the Hemingway of the trailer court', I am reminded of the quote by Nabokov concerning Hemingway...."Hemingway...bah! Lesen Sie weiter...
Veröffentlicht am 9. Juli 1998 von D F Rowland (ruester@ldd.net)
5.0 von 5 Sternen Carver's writes truthful stories of the human experience
What we talk about when . . . is a collection of stories that speak mountians of truth about love. Love is often viewed as a pure and simple emotion; however, Carver suggested it... Lesen Sie weiter...
Veröffentlicht am 16. Juni 1998 von kuhnk5425@uni.edu
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