What We Talk About When We Talk About Love

Carver was born into a poverty-stricken family at the tail-end of the Depression. The son of a violent alcoholic, he married at 19, started a series of menial jobs and his own career of 'full-time drinking as a serious pursuit'. A career that would eventually kill him. Constantly struggling to support his wife and family Carver enrolled in a writing programme under author John Gardner in 1958 and he saw this as a turning point.Rejecting the more experimental fiction of the 60s and 70s, he pioneered a precisionist realism reinventing the American short story during the eighties, heading the line of so-called 'dirty realists' or 'K-mart realists'. Set in trailer parks and shopping malls they are stories of banal lives that turn on a seeminlgy insignificant detail. Carver writes with meticulous economy suddenly bringing a life into focus in a similar way to the paintings of Edward Hopper. As well as a master of the short story he was an accomplished poet publishing several highly acclaimed volumes.After the 'line of demarcation' in Carver's life - 2 June 1977, the day he stopped drinking - his stories become increasingly more redemptive and expansive. Alcohol had eventually shattered his health, his work and his family - his first marriage effectively ending in 1978. He finally married his long-term parter Tess Gallagher (they met ten years earlier at a writers' conference in Dallas) in Reno less than two months before he eventually lost his fight with cancer.

出版者:Vintage

作者:Raymond Carver

页数:176

出版时间:1989-6-18

价格:USD 15.00

装帧:Paperback

isbn号码:9780679723059

图书标签:Raymond_CarverRaymondCarver美国小说短篇英文短篇美国文学美国小说

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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.

读后感

现在谈论卡佛已经逐渐有了一种反讽的意味。我们写的评论比他的小说还要长，我们说的话比他笔下的人物的还要多，我们制造了喧嚣评价他的沉默，我们把他的简约看成了流行和时尚，对他背后大半生遭受的困难视而不见。卡佛在中文语境里受到的追捧已经遮蔽了他的小说与现实世界的关...  

现在谈论卡佛已经逐渐有了一种反讽的意味。我们写的评论比他的小说还要长，我们说的话比他笔下的人物的还要多，我们制造了喧嚣评价他的沉默，我们把他的简约看成了流行和时尚，对他背后大半生遭受的困难视而不见。卡佛在中文语境里受到的追捧已经遮蔽了他的小说与现实世界的关...  

现在谈论卡佛已经逐渐有了一种反讽的意味。我们写的评论比他的小说还要长，我们说的话比他笔下的人物的还要多，我们制造了喧嚣评价他的沉默，我们把他的简约看成了流行和时尚，对他背后大半生遭受的困难视而不见。卡佛在中文语境里受到的追捧已经遮蔽了他的小说与现实世界的关...  

《凉亭》是卡佛这本短篇集里给我印象最深的一篇。 这篇里的男主角叫杜安，女主角叫霍莉。 卡佛的好些短篇里的男女主角都是没有名字的。很多时候他们面目模糊，缺失的心理活动也只能靠读者根据他们的语言和动作来补足。于是，他们有没有名字，其实不太重要。我们知道，他们都属...  

我们读到结尾，会疑惑为什么“我”要那残疾人摄影师帮“我”把砸石头的行为照下来？ 返回文本，以时间的顺序重新叙述这个故事：叙述者“我”是个老男人目前一个人生活，子女们都离“我”而去，妻子可能也和“我”离婚了或者死了，但他们把家里的东西搬了个精光。“我”孤苦伶仃...  

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想買一本，可封面都太丑了。

卡佛的小说根本不落俗套，你永远猜不到主角接下来要做什么，因为你从来就没摸着过头脑！看完之后只有一种想法：活着简直太悲摧了，每个人都闷闷不乐像是抑郁症患者、疯子、狂躁症不治人士、暴力狂。What we talk about when we talk about love? What we talk about when we talk about life?日复一日没有念想的重复平庸地生活，可被替代的恋人，可有可无的恼人的孩子。这样的生活，是不是可以鱼死网破，抑或一死了之？

卡佛的小说根本不落俗套，你永远猜不到主角接下来要做什么，因为你从来就没摸着过头脑！看完之后只有一种想法：活着简直太悲摧了，每个人都闷闷不乐像是抑郁症患者、疯子、狂躁症不治人士、暴力狂。What we talk about when we talk about love? What we talk about when we talk about life?日复一日没有念想的重复平庸地生活，可被替代的恋人，可有可无的恼人的孩子。这样的生活，是不是可以鱼死网破，抑或一死了之？