Like most people interested in the form, I was knocked out by these stories when I first read them, and I continue to reread them frequently with undiminished pleasure. I like their chaste preference of action, dialogue and curtly objective description, over the kind of ruminative authorial guff that blurs and sinks the work of so many other short story writers. I love the dead-on accuracy of what they choose to tell, and the uncompromising silence they maintain on what they choose not to. The image of a man sitting with the entire contents of his house out on the lawn becomes a totally fresh way of conveying the hurt of a broken marriage in Why Don't You Dance? About the marriage itself you learn nothing - but this too, this disciplined reticence, feeds its disturbing energies back into the situation.
Friday, October 26, 2007
This is exactly what I like about Carver's stories
From James Lasdun writing in The Guardian on the Raymond Carver's-widow-pressing-to-have-his unedited-stories-published controversy: