In collections such as Will You Please Be Quiet, Please? and What We Talk About When We Talk About Love, Raymond Carver wrote with unflinching exactness about men and women enduring lives on the knife-edge of poverty and other deprivations. Beneath his pared-down surfaces run disturbing, violent undercurrents. Suggestive rather than explicit, and seeming all the more powerful for what is left unsaid, Carver's stories were held up as exemplars of a new school in American fiction known as minimalism or "dirty realism," a movement whose wide influence continues to this day. Carver's stories were brilliant in their detachment and use of the oblique, ambiguous gesture, yet there were signs of a different sort of sensibility at work. In books such as Cathedral and the later tales included in the collected stories volume Where I'm Calling From, Carver revealed himself to be a more expansive writer than in the earlier published books, displaying Chekhovian sympathies toward his characters and relying less on elliptical effects. In gathering all of Carver's stories, including early sketches and posthumously discovered works, The Library of America's Collected Stories provides a comprehensive overview of Carver's career as we have come to know it: the promise of Will You Please Be Quiet, Please? and the breakthrough of What We Talk About, on through the departures taken in Cathedral and the pathos of the late stories. But it also prompts a fresh consideration of Carver by presenting Beginners, an edition of the manuscript of What We Talk About When We Talk About Love that Carver submitted to Gordon Lish, his editor and a crucial influence on his development. Lish's editing was so extensive that at one point Carver wrote him an anguished letter asking him not to publish the book; now, for the first time, readers can read both the manuscript and published versions of the collection that established Carver as a major American writer. Offering a fascinating window into the complex, fraught relation between writer and editor, Beginners expands our sense of Carver and is essential reading for anyone who cares about his achievement. LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

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.

Fires is the best introduction to the full range and humanity of Carver's writing. It contains four essays, including a moving memoir od his father's working life in the saw-mills of the Pacific Northwest, a tribute to his mentor John Gardner, and the title essay about the influences on his writing life; fifty poems, many of them not collected elsewhere; and seven stories, including three from the early collection Furious Seasons.

A major collection of Carver's short stories, including seven new stories written shortly before the author's death in 1988.

With this, his first collection of stories, Raymond Carver breathed new life into the American short story. Carver shows us the humor and tragedy that dwell in the hearts of ordinary people; his stories are the classics of our time.

What will you get for your birthday this year? A chance to see into the future? Or a reminder of the imperfect past? In this enviable gathering, Haruki Murakami has chosen for his party some of the very best short story writers of recent years, each with their own birthday experiences, each story a snapshot of life on a single day. Including stories by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lewis Robinson, Lynda Sexson, Paul Theroux, William Trevor and Haruki Murakami, this anthology captures a range of emotions evoked by advancing age and the passing of time, from events fondly recalled to the impact of appalling tragedy. Previously published in a Japanese translation by Haruki Murakami, this English edition contains a specially written introduction.

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.

"A dozen stories that overflow with the danger, excitement, mystery and possibility of life...Carver is a writer of astonishing compassion and honesty...his eye set only on describing and revealing the world as he sees it. His eye is so clear, it almost breaks your heart."--Jonathan Yardley, Washington Post Book World

"Cathedral contains astonishing achievements, which bespeaks a writer expanding his range of intentions."--The Boston Globe

"A few of Mr. Carver's stories can already be counted among the masterpieces of American fiction...Cathedral shows a gifted writer struggling for a larger scope of reference, a finer touch of nuance." --Irving Howe, front page, The New York Times Book Review

"Clear, hard language so right that we shiver at the knowledge we gain from it." --Thomas Williams, Chicago Tribune Book World

"Carver is more than a realist; there is, in some of his stories, a strangeness, the husk of a myth." --Los Angeles Times


Stories included:
"Feathers"
"Chef's House"
"Preservation"
"The Compartment"
"A Small, Good Thing"
"Vitamins"
"Careful"
"Where I'm Calling From"
"The Train"
"Fever"
"The Bridle"
"Cathedral"

A movie tie-in edition to the brilliant new film by Robert Altman, based on these nine stories by Carver, "one of the great short story writers of our time--of any time" (Philadelphia Inquirer).

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.

'I look at all of Carver's work as just one story, for his stories are all occurences, all about things that just happen to people and cause their lives to take a turn... In formulating the mosaic of the film Short Cuts, which is based on these nine stories and a poem, 'Lemonade', I've tried to do the same thing- to give the audience one look... But it all began here. I was a reader turning these pages. Trying on these lives' - Robert Altman in his introduction.

This highly Acclaimed collection of short stories by American writers contains only the best literary art of the past four decades. With a bias toward realism editors Raymond Carver and Tom Jenks have selected fiction that "tells a story"-and tells it with a masterful handling of language, situation, and insight.
But what is so special about this volume is that it mirrors our age, our concerns, and our lives. Whether it's the end of a marriage, as in Bobbie Ann Manson's ""Shiloh,"" or the struggle with self-esteem and weight in Andre Dubus's" "The Fat Girl,"" the 36 works included her probe issues that give us that "shock of recognition" that is the hallmark of great art--wonderful, absorbing fiction that will be read and reread for decades to come.

"Carver's poetry is like an almost invisible strand of fishing line reeling us all together, connecting us by the heart." --San Francisco Examiner and Chronicle

This prodigiously rich collection suggests that Raymond Carver was not only America's finest writer of short fiction, but also one of its most large-hearted and affecting poets.  Like Carver's stories, the more than 300 poems in All of Us are marked by a keen attention to the physical world; an uncanny ability to compress vast feeling into discreet moments; a voice of conversational intimacy, and an unstinting sympathy.

This complete edition brings together all the poems of Carver's five previous books, from Fires to the posthumously published No Heroics, Please.  It also contains bibliographical and textual notes on individual poems; a chronology of Carver's life and work; and a moving introduction by Carver's widow, the poet Tess Gallagher.

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.

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.

CHARLES BUKOWSKI & RAYMOND CARVER Charles Bukowski and Raymond Carver were credited as the fathers of the "Dirty Realism" genre in the 1980s branching out from minimalism, the stripping of fiction down to the least amount of words and a concentration on the subject's view of the object. The characters are usually run-of-the-mill, every day people the lower and middle class worker, the unemployed, the alcoholic, the beaten-down-by-life. In this experimental monograph (in the vein of D. H. Lawrence's Studies in Contemporary American Fiction), avante/pop literary critic Michael Hemmingson examines these dirty works of Bukowski and Carver through the lens of late twentieth-century American culture and the sociological observation of the self, questioning the authority of the "I" in fiction and poetry and its relation to the eye's gaze of the words on a page. Hemmingson offers close readings of selected texts, deconstructing iconic works by Bukowski and Carver to point out the elements of dirty realism and mastery of the language of the common folk, proving that these two writers are an institution in American literature. MICHAEL HEMMINGSON has written over 25 books of literary, western, SF, horror, noir, autobiography, erotica, narrative journalism, gonzo journalism, cultural anthropology, critical theory, critifiction, and ethnography. He lives and works in Southern California.

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.

Raymond Carver always thought of himself, first and foremost, as a poet. As he pointed out himself, he began as a poet and his first published work was a poem. This collected edition of his poems brings together, in the order of the first American publication, the poems of Fires (1985), Where Water Comes together with Other Water (1986), Ultramarine (1988), A New Path to the Waterfall (1989) and No Heroics, Please (1991). The text is edited by Professor William L. Stull of the University of Hartford, with notes and significant variorum readings, and is introduced by Raymond Carver’s widow, Tess Gallagher. Like his stories, Carver’s poems are spare and compressed, making use of everyday language with a moving simplicity and directness that seem easy to achieve but are the result of careful craftsmanship. This Collected Poems is an essential volume for any admirer of Carver and his writings.

A VINTAGE CONTEMPORARIES ORIGINAL

A literary event: Raymond Carver's complete uncollected fiction and nonfiction, including the recently discovered "last" stories, found a decade after Carver's death and published here in book form for the first time.

Call If You Need Me includes all of the prose previously collected in No Heroics, Please, four essays from Fires, and those five marvelous stories that range over the period of Carver's mature writing and give his devoted readers a final glimpse of the great writer at work. The pure pleasure of Carver's writing is everywhere in his work, here no less than in those stories that have alreadey entered the canon of modern literature.

"You should read Fires now. These stories and poems...show the enormous talent of Raymond Carver beginning to take hold."

-- San Francisco Chronicle

"Seminal in Carver studies...A disparate collection of work bound by a unity of vision and obsession."

-- Los Angeles Herald Examiner

"Carver's most revealing book...This collection confirms the worth of Raymond Carver's work...Like bright birds in distant trees, Carver's stories appear in flashes, glimpses; Fires reveals the arc of his purposeful flight."

-- Boston Globe

A new collection containing previously unpublished stories that show Carver at the peak of his powers as a contemporary master of American fiction. When he died in August 1988, Raymond Carver had just published what were thought to be his last stories in his own selection, Where I'm Calling From. This new volume brings together all of his uncollected fiction, including three late stories only recently discovered in his house in Port Angeles, a fragment of a novel, five early stories, and all of his non-fiction prose, including his last essay "Friendship", about a London reunion with Richard Ford and Tobias Wolff. The five "new" stories are wonderful examples of his late open style, while the non-fiction prose includes all of the essays, together with occasional commentary on his own fiction and poetry, writings on the American short story, and reviews of work by his contemporaries, including Donald Barthelme, Richard Brautigan, Jim Harrison, Thomas McGuane and Richard Ford. Call if you Need Me: The Uncollected Writings takes us into Carver's workshop, and completes the picture of one of the most original writers of his generation in the English language.