Raymond Carver in his own words
In most of his short stories, Raymond Carver describes himself through different themes as declined towards intensity and brevity. In some of his stories, the subject matter focuses on his experience with blue collar jobs where in each case he adds the themes of recovery and alcoholism. Many other writers and analysts have identified Carters themes. This is because these themes have helped to motivate and influence the writers writing skills.
The other vital theme that Carver includes in the short stories is minimalism theme. The author uses this theme by shaping the prose in the story. This has been criticized by other writers as a surgical transplantation and amputation in some his work.
Alcohol, Emotion, and Tension in Raymond Carver’s Fiction » Writing Program » Boston University
He used this theme to unify simplicity and delight in the stories. Carver also uses the theme of breaking from confines. This theme relates to how he broke from his difficult life. This theme reflects the difficult life in which he had more hours at different jobs in order to rear his children and take care of his family. The theme also reflects many problems in his life which led him result to full time drinking. However, most of his work focuses on loss and sadness on his everyday life. This is evident in his short story, the Call if you need me.
The themes used in the story include the theme of loneliness, alienation and hope. In some of his stories, the characters are exceedingly jealous of their wives and unhappy in their everyday work. Other people also feel like they are alienated from their lives William The characters families have also experienced the feelings of alienation and loneliness.
The writing styles and use of unique themes by Carver are proof that the author was a true postmodernist. In this short story, the author gains a fantastic deal of mileage in his writing by managing to reveal the characters symbolically as spiritual beings. In this story, he uses events and objects as rhetorical destinies of the characters. However, in some of his short stories, the author surrenders his rhetorical control and instead uses other tightly controlled themes.
In most of the short stories, Carvers themes bring out indeterminacy, flatness and an unrelated quality Sam This is clearly evidence from the symbolic structures used by the author which is carefully and unambiguously developed. These facts, though symbolic in nature, are not reliable and effective in use but also have a significant effect in most of the short stories. The theory of preservation has been used in most of the Carver's short stories. The characters concentrate and talk about physical suffering, revenge, drunken driving, bungled suicide and recriminations.
The stories represent or bring out the fact that love ,just like ice can splash and melt depending on the position of the container. The author also uses the theory of factual symbolism in this short story to bring out shocking facts and evidence.
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According to the author, every beautiful or wild thing can be squeezed out from his marriage and alive which he has reflected in most of his short stories. The themes used by the author in the short stories are highly effective since the themes allow the characters to breath and live in the short stories William Raymond Carver is an exceptional author that uses different writing styles and themes. To be told that this is wrong, somehow mistreating the reader, made me suddenly quite angry. And what about perhaps this year's most feted story collection, David Vann's Legend of a Suicide?
Vann's book seems initially to conform to all Carver's edicts.
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But then halfway through, Vann does something transformative, something that you simply don't see coming and nothing is the same again. You could call this a "trick", but to me it's something approaching genius. When people talk negatively about creative writing classes and the kind of fiction they produce, it's precisely Carver's prejudice against invention and tricks to which they are usually alluding.
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New voices are stifled behind rules and conventions, like Carver's, that should be challenged and bent and railed against. Innovation — as Vann and his fellow countryman Wells Tower prove — is what keeps the short form vital and alive, despite its status as a commercial pariah for publishers. For all Carver's disdain for experimentation, even Donald Barthelme and BS Johnson would look on admiringly at the effect of Beginners. How much would they have enjoyed readers holding two versions of the same stories, reading them side by side?
And how ironic that a writer who said that he "ran for cover" at the sight of a trick, has now become the newest trick in town.
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