Реймонд Карвер — библиография

The short story that inspired the play at the heart of BIRDMAN starring Michael Keaton, Ed Norton and Emma Stone
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.

This volume comprises the nine short stories and a poem by Carver from which Robert Altman wove his acclaimed film of the same title and it comes with an introduction by the director. Together the stories create an incisive portrait of American life and the American psyche.

Where I'm Calling From, with the author's original introduction, is the essential Raymond Carver story collection.
Shortly before he died, America's laureate of the dispossessed made his own choice of his short stories, revised the texts and published them in this authoritative edition. The stories in Where I'm Calling From are selected from the full range of the author's work, including Furious Seasons, Will You Please Be Quiet, Please?, What We Talk about When We Talk about Love and Cathedral and include all seven stories from his last collection, Elephant.

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.

What We Talk About When We Talk About Love is Carver's most famous collection of short stories and remians one of the most influential pieces of modern literature to date. But the original, unedited manuscript, Beginners – published here for the first time, was almost fifty per cent longer than the published collection. This restored version of Carver's stories reveals what was previously unsaid, filling in the narrative silences that have both inspired and mystified readers for so long.
Beginners is a fascinating insight into the aesthetic of a literary great and, in the questions it raises, may just spark off one of the great cultural debates of our times.

These seven stories were the last that Carver wrote. Among them is one of his longest, 'Errand', in which he imagines the death of Chekhov, a writer Carver hugely admired and to whose work his own was often compared. This fine story suggests that the greatest of modern short-story writers may, in the year before his untimely death, have been flexing his muscles for a longer work.

Автор отлично понимает тех, о ком он пишет. Персонажи его рассказов - это обычные люди, подчас с пагубными зависимостями, как, например, персонаж рассказа "Если спросишь, где я", оказавшийся в лечебнице для алкоголиков Фрэнка Мартина.
Рассказ входит в одноимённый сборник рассказов Реймонда Карвера, вместивший в себя 37 рассказов автора.

Однажды четверо друзей решили отправиться порыбачить на реку Нейчис. У них была такая традиция: в начале лета ездить рыбачить. Все они были люди приличные, семейные и на ответственных должностях. Припарковав машину где-то в горах, друзья пошли искать место для лагеря. Шли они, нагруженные едой, выпивкой, походной кухней и спальниками. И только нашли подходящее место, не успев разбить лагерь, как один из них увидел в небольшой заводи тело обнаженной девушки... Новелла входит в антологию «Современная американская новелла. 70–80-е годы», 1989 г.