Raymond Carver, página 2 de 5

"La mattina dell''8 luglio 1980 Raymond Carver scrisse una lettera angosciata e confusa all''amico ed editor Gordon Lish, che gli aveva appena mandato il manoscritto rivisto di una nuova raccolta di racconti, ""Principianti"". Di alcuni di questi Lish aveva tagliato il settanta per cento, riducendo nel complesso il libro della meta e cambiando molti titoli e finali. La raccolta ora si chiamava ""Di cosa parliamo quando parliamo d''amore"". Carver implorava Lish di sospendere la pubblicazione del volume e ripristinare i passi tagliati. Ma Lish ando avanti per la sua strada. Carver era certamente spaventato dalla prospettiva della pubblicazione, ma altrettanto dall''idea di perdere la stima e l''affetto dell''editor che l''aveva scoperto e aiutato fin dall''inizio della sua carriera. Cosi si convinse ad accettare l''editing, e la raccolta usci nella forma che Lish le aveva dato, nell''aprile 1981. A quasi trent''anni di distanza, oggi si legge la versione originale di quei racconti per scoprire uno scrittore molto diverso da quello conosciuto. Dove Lish era intervenuto a interrompere una scena prima che raggiungesse la massima intensita, Carver l''aveva lasciata esplodere lentamente. Dove Lish sfoltiva i dialoghi o zittiva del tutto i personaggi, Carver aveva aspettato che arrivassero all''ultima parola. Sotto la forbice di Lish i protagonisti di Carver diventavano uomini e donne senza passato e senza sogni, colpevoli senza movente. Passato, sogni e moventi che Carver aveva immaginato e raccontato. "

Here is the original manuscript of Raymond Carvers seminal 1981 collection, What We Talk About When We Talk About Love. Carver is one of the most celebrated short-story writers in American literaturehis style is both instantly recognizable and hugely influentialand the pieces in What We Talk About . . ., which portray the gritty loves and lives of the American working class, are counted among the foundation stones of the contemporary short story. In this unedited text, we gain insight into the process of a great writer. These expansive stories illuminate the many dimensions of Carvers style, and are indispensable to our understanding of his legacy.Text established by William L. Stull and Maureen P. Carroll

Este título incluye: • la versión original íntegra no simplificada de cada relato • la traducción de las palabras clave • actividades de comprensión lectora gratuitas en www.ponsidiomas.com • archiv

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 celebr

"A dozen stories that overflow with the danger, excitement, mystery and possibility of life...Carver is a writer of astonishing compassion and honesty...his eye set only on describing and revealing the world as he sees it. His eye is so clear, it almost breaks your heart."--Jonathan Yardley, Washington Post Book World "Cathedral contains astonishing achievements, which bespeaks a writer expanding his range of intentions."--The Boston Globe "A few of Mr. Carver's stories can already be counted among the masterpieces of American fiction...Cathedral shows a gifted writer struggling for a larger scope of reference, a finer touch of nuance." --Irving Howe, front page, The New York Times Book Review

This powerful collection of stories, set in the mid-West among the lonely men and women who drink, fish and play cards to ease the passing of time, was the first by Raymond Carver to be published in the UK. With its spare, colloquial narration and razor-sharp sense of how people really communicate, the collection was to become one of the most influential literary works of the 1980s.

Raymond Carver said it was possible 'to write about commonplace things and objects using commonplace but precise language and endow these things - a chair, a window curtain, a fork, a stone, a woman's earring - with immense, even startling power'. Nowhere is this alchemy more striking than in the title story of Cathedral in which a blind man guides the hand of a sighted man as together they draw the cathedral the blind man can never see. Many view this story, and indeed this collection, as a watershed in the maturing of Carver's work to a more confidently poetic style.

With this, his first collection, Carver breathed new life into the short story. In the pared-down style that has since become his hallmark, Carver showed how humour and tragedy dwell in the hearts of ordinary people, and won a readership that grew with every subsequent brilliant collection of stories, poems and essays that appeared in the last eleven years of his life.

Sin heroísmos, por favor (No Heroics, Please), cuya edición original data de 1991, es un recopilatorio de textos inéditos en España de Raymond Carver llevado a cabo por William Stull, crítico norteamericano que propuso a Tess Gallagher la posibilidad de reunir en un libro los textos que Carver habia publicado en diferentes revistas y periodicos a lo largo de toda su carrera. El volumen recoge cinco de los primeros relatos de Carver: Tiempos revueltos, El pelo, Los aficionados, Poseidon y compañia y Manzanas rojas y brillantes, unica pieza en la que Carver explora las posibilidades narrativas de las corrientes experimentalistas que tanto exito tuvieron en los setenta y que Carver rechazaria años despues en sus escritos criticos

“Carver no escribe poesía de manera circunstancial entre relato y relato, más bien al revés: la poesía es para él un cauce espiritual del que se desvía para escribir sus relatos”, afirmaba su viuda,