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Carver: a Minimalist Writer

The standard

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「 young wnt

has always been "Write what you know.

TIME

Raymond Carver did exactly that. It so

happens that for most of his life, what Carver

new best was hardship, both physical and

psychological. In Carol Sklenicka's wise, thorough biography, Raymond

Carver: A Writers Life, we learn just how well Carver knew the

worlds he wrote about

An important figure in Carver's adult life was Gordon Lish, an

influential fiction editor at Esquire magazine who later became a

power in book publishing. In 1970, when Carver was 32, Lish gave

him his first crucial exposure in Esquire-but at a price. He revised at

Carver's manuscripts extensively, cutting out whole pages, changing

titles, canceling lyrical passages and moments of uplift. The result

was a set of stories more concise and more difficult to understand

than the originals, more"minimalist, "which was how Carver's early

style came to be known.

Carver had very mixed feelings about all that, especlally when he

saw the heavy changes Lish made to What We Talk About When We

Talk About Loue, Carver's second volume of stories, published in

1981. At the last minute he even pleaded with Lish to withdraw the

book, then yielded, possibly because he felt that Lish was still the

gatekeeper at fames door. But Carver may also have sensed, and

maybe even feared, that the darker register Lish summoned from

those stories made his voice more distinctive and would secure s

reputation-which it did. Before long, honors and money were comung

Carver's way

His secure position in American letters was confirmed recently

with the publication of Carver: Collected Stories. It includes both the

published version of What We Talk About When We Talk About Love,

as edited by Lish, and Carver's original version. That's an unusual

decision but an illuminating one. It's never a bad thing to have more

of Carve