What We Talk About When We Talk About Love

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Raymond Carver

Raymond Carver was a man of few words. Often characterized by an economy that bordered on austerity, Carver’s stories were short and plainly written, and his terse prose lent itself perfectly to his favorite subject: working-class America. Aside from poetry, which was written in the same no-frills style, Carver devoted himself exclusively to short stories. What really set Carver apart from other authors, however, was his exploration of the dark side of Americana. In the simple lives of small town folk, Carver uncovered the violence, rage, and loneliness lurking just beneath the surface. Like many writers, his posthumous reputation has grown exponentially, and it is impossible to imagine any serious study of the short story that does not include the extraordinary work of Raymond Carver.

出版者:Random House
作者:Raymond Carver
出品人:
頁數:144
译者:
出版時間:2003-07-03
價格:USD 14.45
裝幀:Paperback
isbn號碼:9780099449843
叢書系列:
圖書標籤:
  • Raymond_Carver 
  • 英文原版 
  • 小說 
  • 美國文學 
  • 文學 
  • 短篇 
  • 愛情 
  • 瑞濛.卡佛 
  •  
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Raymond Carver's "What We Talk About When We Talk About Love"

Commentary by Karen Bernardo

Raymond Carver's short story "What We Talk About When We Talk About Love" takes place in one sitting, or more precisely, one pre-dinner drinking bout. It is told in first person, with one of the four characters referring to himself as "I," but ironically this is the character about whom we know the least; he is merely the mouthpiece for the action, and all we know about him is that his name is Nick and he is married to Laura. His friend Mel is a cardiologist, married to Terri, and initiates the conversation of what love means. This conversation provides the central focus of the story.

Mel, Nick tells us, thinks "real love [is] nothing less than spiritual love." He cannot comprehend that his wife's abusive ex-husband, Ed, could possibly have loved her while he was dragging her around the room by her ankles. "That's not love, and you know it," Mel says. "I don't know what you'd call it, but I sure know you wouldn't call it love."

Terri, on the other hand, insists that it was. She has led a much less sheltered life and is also much less self-righteous than Mel; she understands that while objectively Ed could be regarded as sadistic, dangerous, and pathological, he operated out of a reservoir of strong emotion that was simply incapable of channeling itself in socially-acceptable ways. This strong emotion, when turned toward other human beings, erupted in violence. This is why he beat his wife and eventually committed suicide.

Ed, in fact, functions as a pivotal character in the story even though he is dead by the time the action occurs. He stands out in stark contrast to the little group drinking around the table, for, crazy as he was, he had life in him. Terri seems to look back to her days with Ed with a kind of nostalgia, because for all his crackling violence, she thinks he is more man than Mel will ever be.

Mel, for his part, presents the story's central question -- what is love -- because like the rest of the group he is imbued with a sense of loss, of regret, of unutterable sadness, for reasons he can not quite describe. He feels instinctively that it has something to do with love, and he's right in a way; it has everything to do with passion. The little group sees in alcohol a way to inflame the passion they once felt for living, or the passion they think they should feel. Mel notes that as much as they love each other, if they were all married to someone else, it would make no difference in their lives; one empty person is as good as another.

In fact there is in fact no passion in these people; the alcohol makes it worse, and at the end, when Mel says the gin is gone, Nick concludes the story with the words: "I could hear the human noise we sat there making, not one of us moving, not even when the room went dark." They can't move because they suddenly realize the fact that none of them have ever moved; their lives have always been, and will always be, empty and dark, and they no longer have gin to cover this up.

具體描述

讀後感

評分

“在艺术中,简洁并非是预定的目的,但是当一个人接近事物的本质时,总会不可避免地到达这一点。”用这段话来评价我心中的卡佛丝毫不为过。天朝的大多语文老师总是在课堂上歇斯底里地大喊文字要美,但遗憾的是他们心中的美其实是丑陋的。学生作文中充斥着大量浮夸的比喻句...  

評分

这是我很久以前写的一篇文章,在豆瓣卡佛小组里贴过。部分读者觉得卡佛这本书很难读懂,我想这篇文章或许有点帮助。 Warning:这篇文章比这本小说集里任何一篇小说都要长。呵呵。 毁了我父亲的第四件事(译后记) ——从一篇小说的两个版本谈卡佛小说的风格及其演变 ...  

評分

我们读到结尾,会疑惑为什么“我”要那残疾人摄影师帮“我”把砸石头的行为照下来? 返回文本,以时间的顺序重新叙述这个故事:叙述者“我”是个老男人目前一个人生活,子女们都离“我”而去,妻子可能也和“我”离婚了或者死了,但他们把家里的东西搬了个精光。“我”孤苦伶仃...  

評分

长篇或中篇小说中总会透露给人种种时代印记、作者寓意的信息,而当面对一篇篇短小精悍的短篇小说时,好像应该谈论些什么,又好像什么都不用谈论只能支吾着:“你看吧,反正是一本不错的小说。” “隐喻”、“新小说”、“寓言式”这一系列的词显得既强加阐释又像是废话...  

評分

“在艺术中,简洁并非是预定的目的,但是当一个人接近事物的本质时,总会不可避免地到达这一点。”用这段话来评价我心中的卡佛丝毫不为过。天朝的大多语文老师总是在课堂上歇斯底里地大喊文字要美,但遗憾的是他们心中的美其实是丑陋的。学生作文中充斥着大量浮夸的比喻句...  

用戶評價

评分

很適閤自己想像書中描繪的場景以及人物關係。很適閤在旅途中讀。看瞭Carver的書後覺得其它書都廢話太多。

评分

很適閤自己想像書中描繪的場景以及人物關係。很適閤在旅途中讀。看瞭Carver的書後覺得其它書都廢話太多。

评分

讀不懂

评分

是present simple...下瞭個版本全書隻有標題篇和beginner。。一度以為自己在看彗星來的那一夜。簡介深刻。。

评分

Environment dipiction and details are fantastic.

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