描述
Biographical Essay
雷蒙·卡弗,美國當代小說家，詩人，新現實主義運動的中心人物。
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描述
In life, art, and even death, Raymond Carver’s double, mentor, and companion soul was Anton Chekhov. Like Chekhov (1860-1904), whose grandfather bought himself out of serfdom and whose father’s grocery shop went broke, Carver was a child of the working poor. His father, Clevie Raymond Carver ("C.R."), rode the rails from Arkansas to Washington state during the dust-bowl days of the 1930s. C.R. became a saw filer in the lumber mills – and an alcoholic who was dead at fifty-three. His wife, Ella Casey Carver, was no stranger to domestic violence, and she supplemented the family income by working as a waitress and retail clerk. Raymond Clevie Carver, nicknamed Junior, Frog, and Doc, was born on 25 May 1938 in Clatskanie, Oregon, a logging town of seven hundred on the Columbia river. The family returned to Washington in 1941, and Carver grew up in Yakima, a hub town of twenty thousand in "The Nation’s Fruit Bowl," the fertile valley east of the Cascades.
Carver was a belated child of the Great Depression, and well into times of postwar prosperity his house lacked an indoor toilet. His poem "shiftless" (1986) lays out the economics of his childhood: "The people who were better off than us were comfortable . . . . / The ones worse off were sorry and didn’t work." Like Chekhov, Carver knew intimately the marginal lives of hardship and squalor from which he crafted luminous stories of empathy, endangerment, and hard-won affirmation. "They’re my people," he said years later of the inarticulate laborers and service workers who form his submergedpopulation. "I could never write down to them."
Before Chekhov, there were fables, tales, and sketches. But there were no short stories, no "plotless" evocations of human subjectivity on the threshold of perception. Chekhov created the modern story in the 1880s, partly out of journalistic necessity, by fussing realistic detail and romantic lyricism. The result was a lambent mode of fabulation that teases out the mysteries of "normal" life. In stories such as "Misery" (1886), "Anyuta" (1886), and "The Kiss" (1887), the Chekhovian moment, albeit half-grasped and fleeting, encapsulates a soul. Chekhov’s restrained yet resonant manner became standard practice for twentieth-century storytellers, including Carver’s American mentors Sherwood Anderson, Ernest Hemingway, and John Cheever. By the late 1960s, however, nonmimetic, formally experimental "superfiction" had become the favored mode of the literary avant-garde. Realistic stories, like the "totalizing" novel, had been declared outmoded, if not obsolete.
During these same years, in the backwaters of Washington and Northern California, Raymond Carver had married at nineteen and fathered two children by the time he was twenty. Juggling "crap jobs," fatherhood, and eventually "full-time drinking as a serious pursuit," he eked out time to write. "Get in, get out. Don’t linger. Go on," were the bywords of his life. Of necessity, they shaped his art. "I needed to write something I could get some kind of payment from immediately," he later said. "Hence, poems and stories."
Chekhov would have understood. At nineteen he had moved from provincial Taganrog to Moscow and taken charge of his impecunious family. Although a full-time medical student, "Papa Antosha" earned much-needed cash by writing dry-humored sketches for mass-market weeklies. In a letter of 10 May 1886 he ticked off guidelines for what small-minded critics a century later would call "minimal" fiction: "(1) no politico-economico-social verbal effusions; (2) objectivity throughout; (3) truth in the description of characters and things; (4) extreme brevity; (5) audacity and originality-eschew clichés; (6) warm-heartedness." Working under similar conditions of "unrelieved responsibility and permanent distraction," Carver found Chekhov’s precepts congenial, and during the 1960s and 1970s he reinvented short fiction along Chekhovian lines. In the process he laid the groundwork for a realist revival in the 1980s. "In a literary sense," novelist Douglas Unger said shortly after Carver’s death, "his story exists as a kind of model of the resurrection of the short story."
Few would dispute Carver’s claim that Chekhov was "the greatest short-story writer who ever lived." Nor would many question Charles May’s judgment, voiced in A Chekhov Companion (1985) that the most Chekhovian of contemporary writers was Raymond Carver. As artists and as men, the two led parallel lives. Tragically, the parallels converged during 1988, as Carver followed Chekhov in succumbing, far too early, to an illness emblematic of his age. In Chekhov’s case the malady was tuberculosis, which claimed his life at forty-four. In Carver’s instance it was lung cancer. The writer who once described himself as "a cigarette with a body attached to it" died on 2 August, two months past his fiftieth birthday. Two years earlier novelist Robert Stone had called Carver "the best American short-story writer since Hemingway." Speaking at Carver’s memorial service in New York City on 22 September, he offered a higher compliment. Borrowing a line from his own essay on Chekhov, Stone termed Carver "a hero of perception."
Throughout his writing life, first in poems, later in essays, and always in his fiction, Carver kept in contact with his Russian mentor. In the title poem of his second book, Winter Insomnia (1970), for example, he called on Chekhov to prescribe him "three drops of valerian, a glass / Of rose water-anything," to calm his frazzled nerves. In an essay, "On Writing," collected in Fires (1983), he praised the "simple clarity" of Chekhov’s moral awakenings: abrupt, often negative epiphanies signaled by phrases such as "and suddenly everything became clear to him." The same phrase appears, all but verbatim, in Carver’s story "The Pheasant," collected in the same book.
Surely Carver’s boldest tribute to Chekhov came in "errand," a prize-winning story that also proved to be his last work of fiction. "Errand" begins in biography, with an artfully telescoped account of Chekhov’s final months, culminating in his drinking a glass of champagne minutes before dying in Badenweiler, a spa in the Black Forest. The hard facts told, the story continues as Chekhovian fiction. With mounting lyricism Carver recounts the "human business" attendant upon Chekhov’s death. After a night long vigil Chekhov’s widow instructs a young bellman to locate a proper mortician. Respectful if half-comprehending, he listens as she outlines his errand. Before leaving, however, the young man bends, discreetly, to retrieve the champagne bottle’s fallen cork. This gesture, at once honorable and unremarked, brings the story to a faultless Chekhovian close.
"Errand" appeared in the 1 June 1987 New Yorker. The following spring it won the O. Henry Award and appeared in Prize Stories 1988. During the same period, however, Carver’s life imitated his art – with fatal consequences. In September he found himself spitting blood. In October two-thirds of his left lung was removed. Over the next nine months, as Carver waged a brave but losing battle against cancer, Chekhov became his ghostly double. "When hope is gone," he wrote in his journal, "the ultimate sanity is to grasp at straws." Chekhov too had grasped at straws, boasting less than a month before his death that he was "beginning to grow stout." By March 1988 the cancer had spread to Carver’s brain. Before beginning radiation therapy, he wrote a meditation on Chekhov’s "Ward No. 6" (1892). Explicating a patch of dialogue between the disaffected doctor, Andrey Yefinitch, he noted how even in Chekhov’s godforsaken madhouse "a little voice in the soul" arises, urging "belief of an admittedly fragile but insistent nature."
Carver’s fiftieth birthday was fast approaching, and in May he received a host of accolades. These included a Brandeis University creative arts citation, an honorary doctor of letters degree from the University of Hartford, and induction into the American Academy and Institute of Arts and Letters. It was also in May that Where I’m Calling From, a collection of his new and selected stories, was published by Atlantic Monthly Press. (Elephant, containing his seven latest fictions, followed in England on 4 July.) Where I’m Calling From received glowing notices from coast to coast, including front-page coverage in the New York Times Book Review. More important, the retrospective occasion prompted critics to reassess Carver’s career and reputation. Although widely acknowledged as "one of the great short-story writers of our time," he had been tagged a "minimalist," a dismissive label untrue to the spirit of his work. Packed with thirty-seven stories written over twenty-five years, Where I’m Calling From gave Carver’s so-called minimalism the lie. "Carver has not been a minimalist but a precisionist," David Lipsky wrote in the National Review (5 August 1988). Reviewers for the Washington Post, the San Francisco Chronicle, and the Times Literary Supplement concurred. "It goes without saying that Carver is a master," Roger K. Anderson observed in the 19 June 1988 Houston Chronicle. "But now a new generosity of spirit is unmistakable. Achieving this may be the keystone of his career – a new level of tranquillity."
In June the cancer reappeared in Carver’s lungs. As he acknowledged in a poem entitled "What the Doctor Said," the diagnosis was a death sentence. Given a similar verdict, three years before his death Chekhov had responded by marrying the actress Olga Knipper. (the wedding date, duly noted in "Errand," was 25 May, Carver’s birthday." Outdoing his mentor in audacity, on 17 June Carver married his companion and collaborator of the past ten years, the writer Tess Gallagher. The wedding took place in Nevada, in the Heart of Reno Chapel, and Carver described it with gusto as a "high tacky affair." True to the tragicomic occasion, Gallagher went on to a three-day winning streak at roulette.
Returning to Port Angeles, Washington, their home of the past five years, Carver and Gallagher hurried to assemble his last book of poetry, A New Path to the Waterfall (1989). In this unusual collection, Carver’s verses speak in dialogue with work by other poets – and with prose poems gleaned from Chekhov’s fiction. Together, the two "companion souls" make a "last, most astounding trip" that recapitulates a life lived prodigally but well. Reprinting a number of his early poems, Carver recalls the heady but numbered days of his youthful marriage. He revisits his parents’ kitchen, catching a glimpse of his father in an adulterous embrace. Invoking Czeslaw Milosz’s "Return to Krakow in 1880," he questions the value of his work: "To win? / To lose? / What for, if the world will forget us anyway." In poems of searing candor, he struggles to say "what really happened" to his loved ones and to him. Finally, in the closing pages, he confronts the "stupendous grief" of his impending death. The life journey ends in the Chekhovian twilight of "afterglow," a portrait of the artist mugging for the camera, his cigarette at a "jaunty slant." The book’s coda, "Late Fragment," voices Carver’s hard-won self-acceptance:
And did you get what
you wanted from this life, even so?
I did.
And what did you want?
To call myself beloved, to feel myself
beloved on the earth.
The manuscript completed, Carver and Gallagher made a fishing trip to Alaska and planned a "dream visit" to Moscow. "I’ll get there before you," he joked while in the hospital. "I’m traveling faster." Released into his wife’s care, Carver spent the last afternoon of his life on the porch of his newly built house, overlooking his roses. That evening he and Gallagher watched the movie Dark Eyes (1987), Nikita Mikhalhov’s Chekhovian pastiche. At 6:20 the next morning Carver died in his sleep. Without revealing the urgency of his condition, during the last months of his life Carver told interviewers what he hoped might be his epitaph. "I can’t think of anything else I’d rather be called than a writer," he said, "unless it’s a poet. Short-story writer, poet, occasional essayist." After family services on 4 August he was buried in the Ocean View Cemetery in Port Angeles. The grave overlooks the Strait of Juan de Fuca, the deep blue channel that Carver had plied in his boat and celebrated in three books of poetry, Where Water Comes Together With Other Water (1985), ultramarine (1986), and In a Marine Light (1987). On Sunday, 7 August, the London Times combined a front-page review of Elephant with a hastily drafted OBITUARY. Raymond Carver had reveled "the strangeness concealed behind the banal," affirmed "the individuality that survives mass-produced goods and look-alike lifestyles," and extracted "a poetry out of the prosaic," wrote Peter Kemp. The title of his article was "The American Chekhov."
As his uncanny kinship with Chekhov suggested, there was about Raymond Carver an abiding doubleness. "I really do feel I’ve had two different lives," he told the Paris Review in 1983. The "line of demarcation" was 2 June 1977, the day that after ten years of progressive alcoholism Carver had stopped drinking. The Changeover was, in his view, nothing short of miraculous. "Toward the end of my drinking career I was completely out of control and in a very grave place," he recalled. By his thirty-ninth year alcohol had shattered his health, his work, and his family. (He and his first wife, the former Maryann Burk, separated in the summer of 1978 and were divorced in October 1982.) What followed over the next ten years was, in the words of a poem that appeared in the New Yorker a few weeks after Carver’s death, "Pure gravy."
At a writers conference in Dallas in November 1977, Carver, still new to sobriety, had met Tess Gallagher, a poet who like himself was a native of the Pacific Northwest, the child of an alcoholic father, and a survivor of a broken marriage. Nine months later the two met again in El Paso, where Carver was a visiting distinguished writer at the University of Texas. After a Chekhovian courtship, including a date during which Gallagher nervously tore an earring through her lobe, the two became housemates. First in El Paso and Tucson; then in Syracuse, New York (where both taught at Syracuse University); and finally in Gallagher’s hometown of Port Angeles, Carver and Gallagher lived and worked together. The two writers became each other’s first readers. When their books appeared – some twenty-five between them over the next ten years – they became each other’s dedicatees. Eventually, they became coauthors, sharing credit for Dostoevsky: A Screenplay (1985). As mutual influences, each pointed the other in new directions. Established as a poet, Gallagher produced a collection of stories, The Lover of Horses (1986). Carver, who had made his mark in prose, brought out book after book of verse and received Poetry magazine’s Levinson Prize in 1985. "This second life had been very full, very rewarding," he told an interviewer in 1986, "and for that I’ll be eternally grateful."
Carver’s gratitude spilled over from his life into his work, not only in poems such as "For Tess" (1985) and "The Gift" (1986) but also in stories such as "Cathedral" (1981), "If It Please You" (1981), and "A Small, Good Thing" (1982). During the 1980s his once spare, skeptical fiction became increasingly expansive and affirmative – in Mona Simpson’s phrase, "more generous." In Fires he restored to original length several of the stories he had shortened for his so-called "minimalist" masterpiece, What We Talk About When We Talk About Love (1981). True to its title, Cathedral (1983) explored the transcendental dimensions of everyday experience, much in the manner of Chekhov’s quietly religious stories "Easter Eve" (1886) and "The Student" (1894). Last came the new work in Where I’m Calling From: seven stories written during the final years of Carver’s life. Once again his work was changing. Stylistically, his fiction was growing longer and looser, novelistic in the manner of Chekhov’s late works "The Lady with the Dog" (1899) and "In The ravine" (1900). The subject matter of his stories was changing, too. "Now they deal not just with husband and wife domestic relationships," he told Paris-based Frank in 1987, "but with family relationships: son and mother, or father and children." Moreover, as Carver noted in a posthumously published introduction to American Fiction 88, he had grown less interested in conclusiveness than in "the tapestry of relationship and event."
Through it all a certain doubleness persisted. "In this second life, this post-drinking life, I still retain a certain sense of pessimism," Carver said, echoing the speaker of his story "Intimacy" (1986), who likewise holds to "the dark view of things." From 1984 to 1988 he and Gallagher both lived in Port Angeles, but they shuttled between their two houses, his in a blue-collar neighborhood, hers in an upscale development. The doubleness appeared as well in the faces Carver showed the world. In the jacket photo on Ultramarine, he sports a shiny suit and looks every inch the famous writer. On Where I’m Calling From, he hunches in a well-worn leather jacket, his only ornament a black onyx ring. "There was always the inside and / the outside," run the opening lines of a poem in his first book, Near Klamath (1968). "part of me wanted help," says one of his characters two decades later. "But there was another part." From such persistent self-divisions, Carver wrought an art of haunting ambiguity.
During what he later called his "bad Raymond days," Carver twice went bankrupt. But he was efficient even in his prodigality. He packed two lives into the space of less than one, insisting up to beyond his dying day that he was twice-born and happy. "Don’t weep for me," the speaker of "Gravy" tells his friends, "I’m a lucky man." Born into unpromising circumstances, Carver made a virtue of necessity by following a pragmatic aesthetic set forth in his poem "Sunday Night." (First published in 1967, it is included in A New Path to the Waterfall.) "Make use of the things around you," the poet tells himself, noting the rain outside his window, the cigarette between his fingers, and the sounds of a drunken woman stumbling in the kitchen. "Put it all in, / Make use." Early on, Carver crossed the "tell-is-as-you-see-it" poetics of William Carlos Williams with the unblushing candor of Charles Cukowski. "You are not your characters," he told an interviewer in 1978, "but your characters are you." In later years he repeated Rainer Maria Rilke’s dictum, "Poetry is experience." Without symbolic fanfare or confessional hysteria, he invested personal experience with mystic resonance. "If this sounds / like the story of a life," he says in one of his poems, "okay."
Carver was the son of a craftsman, and his writerly development followed the stages of a craftsman’s training. After moving his family from Yakima to Paradise, California, in 1958, he enrolled at Chico State College. There, he began an apprenticeship under the soon-to-be-famous John Gardner, the first "real writer" he had ever met. "He offered me the key to his office," Carver recalled in his preface to Gardner’s On Becoming a Novelist (1983). "I see that gift now as a turning point." In addition, Gardner gave his student "close, line-by-line criticism" and taught him a set of values that was "not negotiable." Among these values were convictions that Carver held until his death. Like Gardner, whose On Moral Fiction (1978) decried the "nihilism" of postmodern formalism, Carver maintained that great literature is life-connected, life-affirming, and life-changing. "In the best fiction," he wrote "the central character, the hero or heroine, is also the ‘moved’ character, the one to whom something happens in the story that makes a difference. Something happens that changes the way that character looks at himself and hence the world." Through the 1960s and 1970s he steered wide of the metafictional "funhouse" erected by Barth, Barthelme and Company, concentrating instead on what he called "those basics of old-fashioned storytelling: plot, character, and action." Like Gardner and Chekhov, Carver declared himself a humanist. "Art is not self-expression," he insisted, "it’s communication."
First under Gardner, then under the mentorship of Professor Richard C. Day of Humboldt State College, Carver began writing stories. The earliest of them, revised and collected in Will You Please Be Quiet, Please? (1976) and Furious Seasons and Other Stories (1977), show him testing his voice among the echoes of his predecessors. His first published story, "The Furious Seasons" (Selection, Winter 1960-1961), is a long-drawn experiment in Faulknerian polyphony. His next, "The Father" (Toyon, Spring 1961), offers a tight-lipped Kafkian fable of fewer than five hundred words. Like nearly every writer of his generation, Carver was pulled into Hemingway’s orbit. In 1963, the year of his graduation from Humboldt State, he vascillated between reverence and rebellion, publishing both a workmanlike Hemingway imitation, "Pastoral" (Western Humanities Review, Winter 1963), and a deconstructive parody, "The Aficionados" (Toyon, Spring 1963.)
For Professor Day, the story that "marked" Carver as a writer was "The Hair." (First published in the Spring 1963 Toyon, it is reprinted in Those Days 【1987】 a small-press book of Carver’s early writings.) Here as in "The Father," Carver’s topic is a young man’s identity undone by a seemingly harmless irritant. Over the course of an outwardly normal workday, the hair caught between Dave’s teeth erodes his composure, rendering him feverish by nightfall and leaving his wife nonplussed. But whereas "The Father" is brisk and impersonal, given almost wholly in dialogue, "The Hair" is leisurely and lyrical. Although Kafkaesque in its theme, stylistically the story calls to mind Chekhov’s early accounts of normality disrupted: "An Upheaval," for example, or "Panic Fears" (both 1886). Further experiments in the Chekhovian lyrical/objective manner followed. A pair of stories, "The Ducks" (first published as "The Night the Mill Boss Died," Carolina Quarterly, Fall 1964), trace the nightmarish "awakenings" of, respectively, a stolid Working Man and a sensitive young woman, each of whom sees feelingly the awful emptiness of routinized existence.
Carver had found his register. As Michael Koepf wrote in 1981, "There’s a Chekhovian clarity to Ray Carver’s stories but a Kafkaesque sense that something is terribly wrong behind the scenes." Nonetheless, throughout the 1960s Carver practiced other modes and styles. He spent the academic year 1963-1964 at the Iowa Writers Workshop. (Lack of funds prevented him from staying a second year to complete his M.F.A. degree.) In 1966 he published in the December magazine a long, Jamesian story, "Will You Please Be Quiet, Please?" that Martha Foley included in The Best American Short Stories 1967. He flirted with classicism ("Poseidon and Company," Toyon, Spring 1963) and with fantasy ("Bright Red Apples," Gato Magazine, Summer 1967). He experimented with unreliable narrators, first-person retrospection in the manner of Sherwood Anderson, and Hemingwayesque regionalism.
"It was important for me to be a writer from the West," Carver recalled of the period that led up to the publication of his first book of poems, Near Klamath, by the English Club of Sacramento State College in 1968. During the middle 1960s he worked as a night custodian at Mercy Hospital and sat in on classes at Sacramento State with a third mentor, poet Dennis Schmitz. What with his appearance in the respected "Foley collection," the impending publication of his first book, with the death of his father, 1967 was a landmark year. Moreover, in the summer of 1967 Carver accepted his first white-collar job. Moving his family from the California midlands to the San Francisco suburbs, he became a textbook editor at Science Research Associates (SRA) in Palo Alto. Over the next several years, Carver’s writing took on the coloration of his new milieu, becoming dryer and more sophisticated. The change can be seen in "A Night Out" (December , 1970; retitled "Signals" in Will You Please Be Quiet, Please?), a black-humored account of a feuding couple’s dinner at a glitzy restaurant. Fittingly, the final story of Carver’s apprenticeship looks both backward and ahead. Published in the Autumn 1970 issue of Western Humanities Review as "Cartwheels," it chronicles a city-dweller’s abortive return to the hinterland of her youth. Retitled "How About This?" in the obsessively interrogative Will You Please Be Quiet, Please? (1976), it can also be counted the first work of his journey-man period.
By 1970 Carver had gained control of his medium and defined his "obsessions" (he disliked the word theme). Following the example of Tolstoy’s The Death of Ivan Ilyich (1886), he had taken for his province unheroic lives, "most simple and most ordinary and therefore most terrible." Drawing on Chekhov and Kafka, he had focused on hypnagogic moments during which socially constituted identity totters. His Jamesian donnee was marriage, in particular "a certain terrible kind of domesticity" that he termed "dis-ease." Perhaps most important, in both poetry and fiction he had tapped a vein of "menace." As Marc Chenetier notes, this "motherlode of threat" runs beneath the polished surface of Carver’s middle work like a seismic fault.
Carver’s apprenticeship ended abruptly in September 1970, when his job at SRA was terminated. The upheaval proved to be fortunate. Thanks to severance pay, unemployment benefits, and an NEA Discovery Award, for the first time in his life he could write full-time. Over the next nine months, he produced more than half the stories that went into Will You Please Be Quiet, Please? In the process, he began to see himself as a writer. "I discovered that if I went to my desk every day and applied myself I could seriously and steadily write stories," he later said. Moreover, his fiction underwent a sea change. "Something happened during that time in the writing, to the writing. It went underground and then it came up again, and it was bathed in a new light for me. I was starting to chip away, down to the image, then the figure itself."
It was also during this period that Carver became associated with the mentor of his journey-man decade, Gordon Lish. Through the 1960s Carver had followed John Gardner’s advice and published solely in "little" magazines: respected quarterlies like December that paid in copies rather than cash. Lish, formerly Carver’s Palo Alto neighbor, had in 1969 become fiction editor of Esquire, perhaps the "slickest" of the large-circulation magazines that paid real money. Breaking with precedent, Carver sent one of his new stories, "The Neighbors," to Esquire. Lish accepted it, cut the title by a word and published "Neighbors" in June 1971. It was a turning point.
"Neighbors" tells the tale of an outwardly average couple, Bill and Arlene Miller, who gradually turn the apartment of their out-of-town neighbors, the Stones, into a psychosexual rumpus room. Furtively at first, then with abandon, the caretakers invade the Stones’ privacy: nipping from their liquor cabinet, cross-dressing in their clothes, and unearthing snapshots that promise voyeuristic thrills. Flushed and lusty, the Millers make what promises to be a climatic visit to the Stones’ apartment – only to find that Arlene has locked the key inside. Abruptly barred from their fallen paradise, husband and wife huddle outside the door, feeling an ill wind.
Without being altogether different from Carver’s earlier fiction, "Neighbors" exhibits a surer control of structure, style, and audience. Carver himself allowed that it had "captured and essential sense of mystery or strangeness," which he attributed to the story’s polished style. "For it is a highly ‘stylized’ story if it is anything," he noted, "and it is this that helps give it its value." Textual revisions in Will You Please Be Quiet, Please? indicate that Carver developed his style under Lish’s influence. "He had a wonderful eye, and eye as good as John Gardner’s," Carver later said. But whereas Gardner had advised Carver to use fifteen words instead of twenty-five, Lish advocated a more radical aesthetic: the "minimalist" conviction that less is more. "Gordon believed that if you could say it in five words instead of fifteen, use five words." Under Lish’s mentorship, Carver’s fiction grew leaner and more laconic, iceberg-like in its hidden depths. His subject matter changed as well. Editor Lish’s interests were "paralysis, death, family, home, the things people live with, the violence that is in us," as well as "flight" from all of the above. These concerns became obsessions of Carver’s journeyman stories, which appeared not only in the glossy pages of Esquire and Harper’s Bazaar but also in a host of respected quarterlies and annuals. Indeed, the titles of Lish’s Esquire anthologies, The Secret Life of Our Times (1973) and All Our Secrets Are the Same (1976), suggest a leitmotif of Carver’s middle work. "You’re told time and again when you’re young to write about what you know," Carver later said, "and what do you know better than your own secrets?" With rare exceptions, his stories of this period end in devastating moments of exposure. "Are you there, Arnold?" asks the wife of a character who has tangled his identity in a web of his own masking. "You don’t sound like yourself."
Surely the high point of Carver’s journeyman years should have been the appearance of Will You Please Be Quiet, Please? Published in March 1976 by McGraw-Hill under its new Gordon Lish imprint, this collection of twenty-two stories was targeted to introduce an "increasingly influential" writer to a wider public. It succeeded admirably, bringing Carver a National Book Award nomination in 1977, the same year that a second collection of his stories, Furious Seasons, appeared from Capra Press. But the truth was that the author’s own secret life had brought his career to a standstill. Estranged from his wife and children, Carver was four times hospitalized for alcoholism during 1976-1977. "I was dying from it, plain and simple," he later said, "and I’m not exaggerating."
Miraculously, on 2 June 1977 the drinking stopped. Carver acknowledged the help of Alcoholics Anonymous, but he never found an explanation equal to the fact. "I guess I just wanted to live," he later said. Having come so close to death, he counted his first life over. What at the time he called "The Other Life" – "The one without mistakes" – had yet to begin. But as he noted in "Rogue River Jet-Boat Trip," a poem dated Independence Day 1977, his trip "upriver" had commenced.
As ever, Carver’s writing followed the curve of his experience. He had passed through a personal inferno, and his works from this period – poems with titles such as "Distress Sale," "Alcohol," and "Marriage," collected in a book called Fires – have about them a purgatorial intensity. Even after he celebrated his fortieth birthday and began his "second life" with Gallagher, Carver was unsure what remained to him. "At the time I felt it was okay, it really was, if I never wrote again," he later said. "But Tess was writing, and that was a good example for me."
Over the next five years Carver undertook a wholesale reassessment of his fiction. What emerges as a dialectic of expansion, contraction, and restoration extends over five interlocking books: Furious Seasons (1977), What We Talk About When We Talk About Love (1981), Fires and Cathedral (both 1983), and If It Please You (1984). Between 1978 and 1981 Carver wrote and published in magazines nearly a dozen new stories dealing with the wrenching vicissitudes of alcoholism and the long-drawn dissolution of a marriage. In the first of these, "Why Don’t You Dance?" (Quarterly West, Autumn 1978), a "desperate" man, presumably abandoned by his wife, conducts a yard sale in his driveway. Drunk to the point of anesthesia, he sells a young couple his marriage bed – and tacitly bequeaths them the hopes of his youth.
These new stories and several earlier ones, including five from Furious Seasons, Carver next cut "to the marrow, not just to the bone" to create What We Talk About When We Talk About Love. Donald Newlove’s capsule review in the April 1981 Saturday Review suggests the arresting unity of voice and vision in that slender book: "Seventeen tales of Hopelessville, its marriages and alcoholic wreckage, told in a prose as sparingly clear as a fifth of iced Smirnoff." The stories in What We Talk About When We Talk About Love, won Carver fame as "a full-grown master," a "minimalist," and a capital-letter Influence on a new generation of writers coming of age in the 1980s. Indeed, one younger writer, Jayne Anne Phillips, termed them "fables for the decade" in the 20 April 1981 issue of New York.
In retrospect, however, Carver’s best known collection emerges as his least representative book. For him, the bare-boned "minimalism" of What We Talk About When We Talk About Love, marked not a destination but a turning point. "Any farther in that direction and I’d be at a dead end," he later said. What followed over the next two years was an artistic turnabout, "an opening up" during which he restored and expanded the work he had pared down under the influence of editor Lish, Hemingway’s "theory of omission," and his own purgative impulses. Two small-press books, Fires and If It Please You, display the outcome of this process. In addition, Carver wrote a dozen new stories in a higher, more hopeful key. The first of them, "Cathedral" (Atlantic Monthly, September 1981), he termed "totally different in conception and execution" from his previous work. In this quietly redemptive story, a blind, not wholly welcome houseguest helps his host see life anew. Guest editor John Gardner included "Cathedral" in The Best American Short Stories 1982, and in September 1983 it became the title story of Carver’s third major-press book. Reviewing Cathedral on the front page of the New York Times Book Review (11 September 1983), Irving Howe observed that several of Carver’s stories could already be numbered among the classics of American short fiction. What struck him in the new book, however, was the author’s growth. "Cathedral shows a gifted writer struggling toward a larger scope of reference, a finer touch of nuance."
Cathedral brought Carver nominations for the Pulitzer Prize and National Book Critics Circle Award. More important, it marked his graduation from the school of Gordon Lish. As Jonathan Yardley wrote in the Washington Post (4 September 1983), "The stories in Cathedral leave no doubt that 【Carver】 has moved away from the ‘minimalist’ style into one that is more expansive, inclusive, and generous." Although it took less percipient reviewers several more years to recognize the fact, Carver’s journeyman days were over, as was his long revisionary interlude. With Cathedral, he declared his independence as a master. In the five years that remained to him, the only "outside" influences on his work were Gallagher and Chekhov.
Carver’s independence gained financial support in May 1983 when the American Academy and Institute of Arts and Letters granted him one of its first Mildred and Harold Strauss "Livings" awards. A side effect of the award, which brought him five years of tax-free income, was celebrity status. Carver was profiled in the New York Times Magazine, Vanity Fair, even People. Feeling Besieged by the East Coast "hubbub," he fled west in January 1984. Carver moved into Gallagher’s newly built "sky house," then standing empty in Port Angeles. Once again, his life and work were changing. Intending to write fiction, he found himself drafting poems. "No one could have been more surprised than I was," he later said, "because I hadn’t written any poetry in over two years. I would write myself out every day, then at night there was nothing left. The bowl was empty. I went to bed at night not knowing if there would be anything there the next morning, but there always was."
The result was Where Water Comes Together With Other Water, followed in short order by Ultramarine and, finally, A New Path to the Waterfall. (In a Marine Light, a conflation of the first two books, appeared in England in 1987.) In Carver’s early poetry, collected in Near Klamath, Winter Insomnia, and At Night the Salmon Move (1976), his element had been the earth – the fields and forests of central Washington, the region’s down-to-earth inhabitants. The poems in Fires, written during his turbulent middle years, had been alternately hell-bent and penitential, the record of a phoenix-like rebirth. ("Friends, I thought this / was living," he testifies in "Luck.") Now, working in Gallagher’s glass-walled study above the strait, Carver took for his element the water. His new poetry celebrated the riparian landscape of the Olympic Peninsula. At the same time it charted the riverine currents, eddies, and whirlpools of his own two lives. Despite undeniable losses and a pressing sense of mortality, Carver felt himself renewed by the healing waters. "I felt that way – increased, spiritually increased – for being out here alone and being quiet."
The new poems were "a great gift." Written unhurriedly, day by day, they were quieter than Carver’s earlier poetry. They were also less polished and more intimate. ("It’s the tenderness I care about," he says in "The Gift.") Indeed, the aesthetic distance between experience and expression appeared so slight in them that some readers questioned whether they were poems at all ("journal entries with a ragged right edge," grumbled Jonathan Dee in the 25 June 1985 Village Voice.) Others, however, heard uncommon resonance in Carver’s common language. "Mr. Carver is heir to the most appealing American poetic voice, the lyricism of Theodore Roethke and James Wright," wrote Patricia Hampl. For Greg Kuzma, the heart-stopping power of Ultramarinelayin its unquestionable authenticity: "experience delivered smoldering like newborn calves."
