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When the cancer returned in his brain in March 1988, Carver underwent a seven-week course of radiation therapy from April to May. [2] The book does not collect all of Carver's stories. In an interview with The New York Times, Carver said, "There are some I'm not particularly fond of and would not like to see reprinted again. I just picked up ...
Carver's widow, Tess Gallagher, fought with Knopf for permission to republish the 17 stories in What We Talk About When We Talk About Love as they were originally written by Carver. [5] These original versions eventually appeared in Beginners , published by Jonathan Cape in 2009, and in the Library of America volume Collected Stories .
The Visual Poetics of Raymond Carver. Lexington Books. ISBN 978-0-7391-3922-6; Carver, Maryann Burk (2006). What It Used to Be Like: A Portrait of My Marriage to Raymond Carver. St. Martin's Press. ISBN 0-312-33258-0. Yardley, Jonathan (July 16, 2006). "Raymond Carver's first wife remembers the influential American writer". The Washington Post ...
Carver also selected the contents for the book Syracuse Poems and Stories 1980 (Syracuse, N.Y.: Department of English, Syracuse University, 1980). He also selected, along with Shannon Ravenel, the stories included in The Best American Short Stories 1986 (Boston: Houghton Mifflin , 1986) and edited American Short Story Masterpieces (New York ...
Beginners is the title given to the manuscript version of Raymond Carver's 1981 short story collection What We Talk About When We Talk About Love, published with the permission of Carver's widow Tess Gallagher in 2009.
Created Date: 8/30/2012 4:52:52 PM
Cathedral is the third major-press collection of short stories by American writer Raymond Carver, published in 1983. [1] It received critical acclaim and was a finalist for the 1984 Pulitzer Prize for Fiction .
Will You Please Be Quiet, Please? (1976) was the first major-press short-story collection by American writer Raymond Carver.Described by contemporary critics as a foundational text of minimalist fiction, its stories offered an incisive and influential telling of disenchantment in the mid-century American working class.