All Of Us: The Collected Poems

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Miceli, Barbara. "Rivers, Memories and Reflections in Raymond Carver's Where Water Comes Together with Other Water" in Comparative American Studies'' (2021), pp.1–9. We gave our attention to the TV. My wife yawned again. She said, "Your bed is made up when you feel like going to bed, Robert. I know you must have had a long day. When you're ready to go to bed, say so." She pulled his arm. "Robert?" I didn't know what to say to that. I had absolutely nothing to say to that. No opinion. So I watched the news program and tried to listen to what the announcer was saying. In the mid-1960s, Carver and his family resided in Sacramento, California, where he briefly worked at a bookstore before taking a position as a night custodian at Mercy Hospital. He did all of the janitorial work in the first hour and then wrote at the hospital through the rest of the night. He audited classes at what was then Sacramento State College, including workshops with poet Dennis Schmitz. Carver and Schmitz soon became friends, and Carver wrote and published his first book of poems, Near Klamath, under Schmitz’s guidance.

The book's publication went ahead, in Lish's form and under Lish's title – What We Talk About When We Talk About Love. It was received, in April 1981, to spectacular acclaim. It made Carver's name and remains his most famous book. Fischer, H.D.; Fischer, E.J. (2012). Chronicle of the Pulitzer Prizes for Fiction: Discussions, Decisions and Documents. De Gruyter. p.384. ISBN 978-3-11-097330-3 . Retrieved November 3, 2023.

Halpert, Sam (1995). Raymond Carver: An Oral Biography. University of Iowa Press. ISBN 0-87745-502-3.

After the publication of "Neighbors" in the June 1971 issue of Esquire at the instigation of Lish (by now ensconced as the magazine's fiction editor), Carver began to teach at the University of California, Santa Cruz at the behest of provost James B. Hall, an Iowa alumnus and early mentor to Ken Kesey at the University of Oregon, commuting from his new home in Sunnyvale, California. In 1959 he moved from Oregon to Paradise, California, where he became interested in writing. He attended a creative-writing course, and was taught by John Gardner. Later he said that all his writing life "he had felt Gardner looking over his shoulder when he wrote, approving or disapproving of certain words, phrases and strategies." Jindabyne directed by Ray Lawrence (2006), based on Carver's short story "So Much Water So Close to Home"And there was a crucial difference between these stories and the ones they had worked on before – Tess. As he said in the letter: "Maybe if I were alone, by myself, and no one had ever seen these stories, maybe then, knowing that your versions are better than some of the ones I had sent, maybe I could get into this and go with it. But Tess has seen all of these and gone over them closely."

Ho, Oliver (August 4, 2009). "Manga and Minimalism: The Shared Visions of Yoshihiro Tatsumi and Raymond Carver". Pop Matters. Men Who Don’t Work directed by Alexander Atkins and Andrew Franks, based on “What Do You Do in San Francisco?” About Raymond Carver Raymond Carver (Clatskanie, May 25, 1938-Port Angeles, August 2, 1988) was an American poet, writer and essayist. He is considered one of the most influential writers of the 20th century and American literature. His work is characterized by minimalist stories, narrated in a dry and simple style, without metaphorical concessions, mostly set in the northwestern region of the United States and starring working-class or lower-middle class characters. Carver was one of the greatest exponents of the literary movement known as dirty realism. He studied creative writing with author John Gardner at Chicago State College and continued his studies at Humboldt State College in California, where he earned a BA in 1963. His first collection of poems, titled Near Klamath, was published in 1968 by the Sacramento State University English Club. You can't possess a great writer," she replies. "They're out there for us all. Why would I want to possess him? I had him for 10 beautiful, amazing years, and I think he's his own gift, out there to the ages. I do not consider that I formed Ray – Ray formed himself."And so it went. But there was at least one sense in which being with Carver was like being in one of his stories: much was submerged, and some things were visible only to her. Gallagher remembers with great pleasure a day when her father, who didn't understand the quiet Carver at all, finally sighed and said to her: "Tess, there must be something about that man that just don't show." Yes, this is true. It’s also something to do with what a man I once knew said to me about his sister. It was the only thing he ever said about his sister, and what he said was that she played an imaginary board game with imaginary pieces. That was like the thing Henry James said about going up the stair and finding the one needful bit of information. A lot of what I write is about the need, the fear, the desire for solitude. I find the Brontës’ joint imagination absolutely appalling. So, in a sense, the whole thing was, as you rightly say, a construct and a smokescreen.

Smith, Dell. "Dell Smith's experiences adapting Carver's story "Why Don't You Dance" into a student film in mid-'80s". Beyond the Margins.His final (incomplete) collection of seven stories, titled Elephant and Other Stories in Britain (included in Where I'm Calling From: New and Selected Stories) was composed in the five years before his death. The nature of these stories, especially "Errand", have led to some speculation that Carver was preparing to write a novel. [ citation needed] Only one piece of this work has survived – the fragment "The Augustine Notebooks", first printed in No Heroics, Please. [ citation needed] Carver was about as far from this world – both in content and style – as it was possible to be. His characters worked in diners and motels; they had amputated limbs and their families had left them, with or without furniture; their working lives, their cropped, half-understood thoughts had not been seen in fiction. Lish had edited Carver's first collection, Will You Please Be Quiet, Please? and together they had composed a taut new voice full of left-field desire and hopeless dread. As Carver put it in the letter of 8 July: "You've given me some degree of immortality already." Everything Goes directed by Andrew Kotatko (2004), starring Hugo Weaving and Abbie Cornish, based on Carver’s short story “Why Don’t You Dance?” I said, "Coming at you," and I put the number between his fingers. He inhaled, held the smoke, and then let it go. It was like he'd been doing it since he was nine years old. Characteristics of minimalism are generally seen as one of the hallmarks of Carver's work, although, as reviewer David Wiegand notes: [22]