De qué hablamos cuando hablamos de amor has ratings and reviews. Sawsan said: حين نتحدث عن الحب, نتحدث عن تقلباته ونهاياته الحزينة والموجعة. De qué hablamos cuando hablamos de amor has ratings and reviews. Edward said: I’ve read five stories so far in this book of short stories a. De qué hablamos cuando hablamos de amor by Raymond Carver at AbeBooks. – ISBN – ISBN – Editorial Anagrama.
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Lists with This Book. View all 6 comments. After being required to read Orwell and the goddam Canterbury Talesreading So Much Water So Close to Home –where men on a fishing trip discover a woman’s body in the river and wait until the end of their weekend to report it–would’ve been like ducking a bullet fire If I had aue teacher in high school who assigned Raymond Carver, I would’ve gone bananas for What We Talk About When We Talk About Lovea collection of seventeen stories published in literary journals in the ’70s or early ’80s.
After being required to read Orwell and the goddam Canterbury Talesreading So Much Water So Close to Home –where men on a fishing trip discover a woman’s body in the river and wait until the end of their weekend to report it–would’ve been like ducking a bullet fired from a gun. It would’ve left an indelible impression on my teenage mind, caught between a Doors phase and a Carcer Enemy phase.
De qué hablamos cuando hablamos de amor
Today, not so much. Exploring Carver’s fiction for the first time at the age of forty-three, I feel that in many ways I’m over this. Like listening to someone coming out of AA with their raw stories, epiphanies and apologies, I’m happy they’re exorcising their demons, but I can only tolerate point blank despair for so long.
I was, is and will always be a big fan of Short Cutsthe bold film adaptation in which filmmaker Robert Altman relocated the Carververse to contemporary Los Angeles and whose script drew in part from four of the stories in this collection. While the spiritual root canal on screen was numbed by the humor and humanity of its cast, in printed form, these tales are bleak.
My favorite stories were: In which a woman named Nancy wakes on the night of a full moon at the sound of her backyard gate opening. Her husband Cliff passed out, she puts on her robe to investigate and finds their neighbor Sam Lawton, formerly a friend of her husband’s, out exterminating the slugs that feed on his rose bushes.
Sacks Perspective In which book salesman Les Palmer visits with his recently divorced father during a layover in Sacramento. Unable to unburden himself to anyone else, the father relates to the son in detail how he ended up breaking his marriage vows with his mother. The Bath Columbia In which an unnamed mother and father stand vigil beside their young son at the hospital after he’s hit by a car and slips into a coma. Canceling their son’s birthday party and ignoring the cake they’d ordered, they draw the wrath of the alcoholic baker.
In which Claire is shaken by the behavior of her husband Stuart, who despite discovering a woman’s body on a weekend fishing and drinking trip with his buddies, waited until they were on their way home to contact the police. This act, which seemed reasonable to Stuart, gives Claire no choice but to look at her husband in a new light. In which an unnamed couple on holiday in Milan revisit their past when she asks him to tell her what it was like when they were young.
The man recounts the time their infant daughter came down with an illness and he had to choose between a fishing trip or staying home with his family. While I was able to race through these micro stories in less time than it would take me to duck from combat gunfire, providing some of the same sheer joy and terror, they didn’t cast the same spell they would’ve had I discovered Raymond Carver in high school.
As an adult, I’ve met enough addicts–recovered or otherwise–to know how miserable they make their lives and those closest to them.
I don’t need that behavior illustrated to me anymore. That said, the effect of reading Carver was palpable. This material got into my bones.
There’s a closing time quality to these tales that I can only imagine is like a barfly staring into an empty bottle at 2 a. Intwo decades after Raymond Carver’s death, his widow Tess Gallagher helped editors William Stull and Maureen Carroll restore all seventeen of these stories to their original length in a collection titled Beginners.
I plan on purchasing a copy of his edition and will review it at some future time. View all 17 comments.
View all 10 comments. I picked up this collection of Raymond Carver stories after watching the movie “Birdman,” which features a play based on the title story. When I finished reading it, I was both impressed at Carver’s brisk dialogue and wishing there had been more.
He sketches scenes well, dances around a topic, reaches for hab,amos emotional peak, and then closes. Like most short stories, it’s a marvel of efficiency. But I still wish there had been more heft. Stylistically incredible if relentlessly depressing short stories. I read this because Carvr Murakami counts Carver as an influence, and I can see that: Read in sequence like that, they also st Stylistically incredible if relentlessly depressing short stories.
Read in sequence like that, they also start to feel a bit samey. View all 4 comments. This review has been hidden because it contains spoilers. To view it, click here. You will love or hate this honestly. Very minimalist slice of life stories, no haglamos point subject, ordinary and very hablamls. Carver really focused in expressing one’s mood and feelings. I love Carver style in creating and developing each characters– dramatic and complex, or just plainly normal.
He developed them through a lifestyle narratives with different state of mind and spirit, making them talked and shared everything. I love the simplicity and the ennui part of each characters, it gives t You will love or hate this honestly.
I love the simplicity and the ennui part of each characters, it gives this sort of gripping vibe and curiosity. Some stories are very relatable, very personal it makes you wonder. I find it very enchanting cause I usually dislike writings with no definite ending and too mundane that very hard to find a pleasure on reading it, but reading Carver I somehow accepting the fact that my imagination would decide on the next end paragraph. Having few as my favorite, and some was just okay and still worth a read.
View all 7 comments. This is a throwback to the middle of the last century city-wise, working class wise, angst wise. Short stories that are celebrations for next to nothing. And yet they ARE definitive and terse, sharp and pointed as an arrow.
There are no verbose curly Q’s and lyrical dissertations toward agenda or theory. At times the depth seems steeped. But more o This is a throwback to the middle of the last century city-wise, working class wise, angst wise. But more often it is just emotive, nervous weird. When I read it, I realized I already had. Read it, that is. Shows how much impact it had on me.
I gotta say, I don’t get why he deserves so much attention. At least not from this story. I don’t think it says much. Okay so no one understands love.
So you can’t tell if the cuabdo in the s So. So you can’t tell if the people in the story love each other, or are just putting on a show. Well, there’s the depressed old man who can’t see his wife–but how do you know that’s it? Maybe he just felt guilty about something or was afraid to be alone or And following the Holden Caulfield rule–no, Raymond, I don’t want to call you up and shoot the shit. I think it would bore me.
De qué hablamos cuando hablamos de amor by Raymond Carver (3 star ratings)
Hopelessly desperate and deceptively simple. Great for a literary detox after Austen. What We Talk About When We Talk About Love is a short story collection that focuses primarily on working class hardships and strained or failing relationships, known in particular for its precise prose and spare dialogue. Raymond Carver, famous minimalist whether he liked the term or nothas long been on my TBR, and this story collection has a lovely title.
Those are usually reasons enough for me to pick up a book, but as usual, I failed to do any research beforehand. It turns out that Carver’ What We Talk About When We Talk About Love is a short story collection that focuses primarily on working class hardships and strained or failing relationships, known in particular for its precise prose and spare dialogue.
Giles Harvey’s article, darver Two Raymond Carvers”, neatly explains the problem, if you can ignore the fact that it’s blatantly biased toward Lish, so much as to suggest that Carver wouldn’t have been much of a writer without him. Frankly, the whole thing pissed me off a little. I didn’t enjoy the collection that much, but it’s sort of a slap in the face to get to the end of something and habla,os how little of an author is actually in it. I know all books suffer editing and it’s usually to their benefit, but there should be some kind of disclaimer for egregious revisions.
Personally, I think that Lish completely altered the integrity of the story. In part, it comes down to preference, but it also comes down to what a amkr looks for in literature. I don’t need spare, unflinching observations of human experience, and that’s what I get from Lish’s edits; I’m perfectly capable of being cynical on my own.