Uncover Where Im Calling From: Selected Stories Curated By Raymond Carver Categorized In Printable Format

Murakami on Carver

I've never read so many stories about divorcees, unhappy marriages or relationships, dysfunctional families and alcoholics.
Carver's writing was incredibly real, and this collection will definitely stay in my memory I'll be picking this up again down the track, and maybe I will connect with it on a deeper level as I catch up to the ages of the characters, whom are generally older than.


I'd been interested in reading Carver since Haruki Murakami had consistently praised him in his interviews.
Murakami had translated Carver's collection overyears into Japanese, and discussed his personal and professional life and writing in great detail in apage interview devoted to Carver from sitelinkthis book I'm lucky to be able to read as a Murakami fan.
Here are some excerpts my translation from the interview in Septemberfor the Japanese literary magazine, 文學界 Bungakukai :

While Carver's prose was realist, his stories contained surprisingly strong antirealism components.
Things incredibly radical. However, there are some people who ignore those parts and just say, "What's new about his writing All these stories are just plain realism", giving a simple, perfunctory assessment.
On the other hand, others insistently praise his writing: "He portrays the everyday lives of American blue collar workers brilliantly", only gathering up what's on the surface.
In this sort of context, I think Carver's true literary value was something difficult to ascertain, We should also keep in mind that because Carver was a writer who grew up inside academicism, he used to be entangled in rather fruitless debates such as "Are creative writing courses meaningful".
For such trivial matters to settle down and a proper assessment of Carver's writing to be reached, I think some more time is needed, but in any case, I believe a fair number of thesomething short stories Carver left will be passed onto future generations as classics.
p.

What I think Carver did was utilise his own unique system in slicing up the aspects of a situation or the world and reconstructing them into the shape of a story.
Of course, this is more or less something many authors attempt, In that kind of operation, the writing was not a ingredient that held an especially high importance for him.
It's just that, going down that road of reconstruction, in other words tightening the screw on his own system of writing fiction, Carver's writing style surfaced into existence as a necessary product.
In the cases of Fitzgerald and Capote, things sort of begin from the style of writing, Needless to say, that isn't everything, but there's a wide domain managed by the writing, However, with Carver, the writing style was satisfactory with being at a bare minimum, Using bicycles as an example, it would be a little crude to say a bike you'd use for shopping, but something like a tenspeed bike was not necessary.
If the writing style was a truly necessary one, then even if it wasn't attractive, what mattered was that it did the job.
For example, with such a simple sentence as "The telephone rang while he was running the vacuum cleaner.
", just plonking it at the start of a story brings a mysteriously strong presence with it,
I still love translating Fitzgerald and Capote, but personally I don't really feel that I'd like to write such elegant prose.
Just like with gazing at beautiful craftwork, you'd be impressed, thinking "this is wonderful", but you wouldn't want to copy it.
Well okay, even if I wanted to I wouldn't be able to, and what I want to do is something very different anyway.
If there's something I've learnt from Carver, it's not going to be something individual that can be picked out, such as the writing style, technique or storytelling.
It would be something like a recognition of how an author establishes their own unique system of story composition, and an efficient yet earnest way of bringing that to fruition or perhaps a readiness to vow to live life, carrying that recognition.
pp.

For Raymond Carver, the moral bare minimum was to write with desperation, as if expending a piece of his own soul thus, he couldn't stand people who didn't act on such morals.
He was a kind, warm and gentle person, but in an essay he confessed that he couldn't feel affection as a friend should towards those who compromised on writing, or those he could only conclude must be compromising on writing.
In such cases, his point is that he wouldn't say "He's a nice guy, but, . . ", but the perspective of "a nice guy" disappears altogether, With someone like that near you, you really feel like you need to be serious and give your all.
p.

June,SHOW, DONT TELL


Robert Altman e Tess Gallagher, la vedova di Raymond Carver, durante le riprese del film.


Prima di morire, nel, Carver selezionò proprio questi trentasette racconti per la sua ultima antologia in vita, presumibilmente quelli che lui considerava i suoi migliori.

Per me, il meglio del meglio, Non esiste nessuno come Carver, E se anche esistesse, Carver sarebbe meglio,


Foto locandina di “Short Cuts”,, Il film è a colori, ma io ho preferito selezionare immagini in bampw,

Storie di gente comune, uomini e donne normali, dannatamente ordinari, in totale assenza di colpi di scena.

Brevi narrazioni tese come una corda di violino, sospese sul baratro abissale dellesistere, grondanti algida commozione.

Frammenti, tranche de vie, istantanee, fatti insignificanti, Con personaggi complessi, sfaccettati, più reali della realtà,
Solitudine, dolore, disperazione, impotenza, incomunicabilità, fine dellamore, violenza, vite senza scampo, insieme a tenerezza, condivisione quella vera, ante internet, generosità di sentimenti, pietas.



Robert Altman prepara una scena con Julianne Moore e Madeleine Stowe,

Impieghi umili, povertà, difficoltà a tirare avanti, eccessi alcolici, coppie problematiche,
Molta autobiografia.

Narrazione e scrittura ridotta allosso ma accidenti, no, non minimale, quotidianità che diventa eccezionale, banalità che si trasforma in straordinario, toni e colori neutri ma nitidi e indelebili.

Raymond non spinge sul pedale, non accelera, non calca la mano: immortala scene di vita ordinaria in istanti di luce senza scampo.

Come nei quadri di Edward Hopper,


Tom Waits e Lily Tomlin protagonisti dellepisodio “Loro non sono mica tuo marito”.


Alla fine del racconto intitolato Cattedrale lio narrante non riesce a descrivere una cattedrale al suo amico cieco.
Allora il cieco gli chiede di disegnarla, e con la sua mano segue il movimento di quella del vedente che disegna, non si capisce qual è la mano che guida effettivamente, quella che disegna: e improvvisamente sulla carta la cattedrale prende vita con archi, campanili e tutto il resto.
A quel punto il cieco chiede al narratore di aggiungerci delle persone, e di continuare a disegnare ma a occhi chiusi.
Robert lo fa: chiude gli occhi e disegna come non ha mai fatto in vita sua,
E impara dal cieco a vedere veramente, con gli occhi dellimmaginazione,


Robert Altman in sala trucco con Robert Downey Jr,

Alcuni di questi racconti sono tra i nove più una poesia, “Lemonade” scelti da Robert Altman per il suo splendido film Short Cuts America oggi del: Vicini, Loro non sono mica tuo marito, Creditori, Con tanta di quellacqua a due passi da casa, Vitamine, Una cosa piccola ma buona.

Un altro, “Perché non ballate” è stato adattato da Dan Rush nel suo primo e per ora unico film delintitolato Everything Must Go.



Robert Altman

spiega uninquadratura ad Andie MacDowell, Bruce Davison e Lyle Lovett, famoso cantautore country.
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