Raymond Carver

“La chose dont je parle ici a une parenté avec le style, mais ne se ramène pas au seul style. C'est la griffe particulière et reconnaissable entre toutes qu'un écrivain appose à tout ce qu'il écrit. Ce n'est pas le talent. Le talent, ça court les rues. Mais un écrivain qui a une façon spéciale de voir les choses et qui donne une forme artistique à cette manière de voir est un écrivain qui a des chances de durer.”

“Nights without beginning that had no end. Talking about a past as if it'd really happened. Telling themselves that this time next year, this time next year, things were going to be different.”

“Well, the husband was very depressed for the longest while. Even after he found out that his wife was going to pull through, he was still very depressed. Not about the accident, though. I mean, the accident was one thing, but it wasn't everything. I'd get up to his mouth-hole, you know, and he'd say no, it wasn't the accident exactly but it was because he couldn't see her through his eye-holes. He said that was what was making him feel bad. Can you imagine? I'm telling you, the man's heart was breaking because he couldn't turn his goddamn head and see his goddamn wife.”

“All this, all of this love we're talking about, it would just be a memory. Maybe not even a memory. Am I wrong? Am I way off base? Because I want you to set me straight if you think I'm wrong. I want to know. I mean, I don't know anything, and I'm the first one to admit it.”

“Iba a contaros algo -empezó Mel-. Bueno, iba a demostrar algo. Veréis: sucedió hace unos meses, pero sigue sucediendo en este mismo instante, y es algo que debería hacer que nos avergoncemos cuando hablamos como si supiéramos de qué hablamos cuando hablamos de amor.”

“I'm always learning something. Learning never ends.”

“Es octubre, un día húmedo. Desde la ventana del hotel veo demasiadas cosas de esta ciudad del Medio Oeste. Veo cómo se encienden las luces de algunos edificios, veo cómo el humo de las altas chimeneas se alza en columnas espesas. Me gustaría no tener que mirar.”

“Sai bene che non sogno.Ma ieri notte ho sognato che assistevamo a un funerale nel mare. All’inizio ero attonito. Poi pieno di rimpianti. Ma tu m’hai sfiorato un braccio e hai detto: “no, va tutto bene. Era molto vecchia, e poi lui l’ha amata tutta la vita”

“HappinessSo early it's still almost dark out.I'm near the window with coffee,and the usual early morning stuffthat passes for thought.When I see the boy and his friendwalking up the roadto deliver the newspaper.They wear caps and sweaters,and one boy has a bag over his shoulder.They are so happythey aren't saying anything, these boys.I think if they could, they would takeeach other's arm.It's early in the morning,and they are doing this thing together.They come on, slowly.The sky is taking on light,though the moon still hangs pale over the water.Such beauty that for a minutedeath and ambition, even love,doesn't enter into this.Happiness. It comes onunexpectedly. And goes beyond, really,any early morning talk about it.”

“At leastI want to get up early one more morning,before sunrise. Before the birds, even.I want to throw cold water on my faceand be at my work tablewhen the sky lightens and smokebegins to rise from the chimneysof the other houses.I want to see the waves breakon this rocky beach, not just hear thembreak as I did in my sleep.I want to see again the shipsthat pass through the Strait from everyseafaring country in the world -old, dirty freighters just barely moving along,and the swift new cargo vesselspainted every color under the sunthat cut the water as they pass.I want to keep an eye out for them.And for the little boat that pliesthe water between the shipsand the pilot station near the lighthouse.I want to see them take a man off the shipand put another one up on board.I want to spend the day watching this happenand reach my own conclusions.I hate to seem greedy - I have so much to be thankful for already.But I want to get up early one more morning, at least. And go to my place with some coffee and wait.Just wait, to see what's going to happen.”

“But here is the thing. When he gets on me, I suddenly feel I am fat. I feel am terrifically fat, so fat that Rudy is a tiny thing and hardly there at all.”

“What do any of us really know about love?”

“I think a little menace is fine to have in a story. For one thing, it's good for the circulation.”

“There was a time when I thought I loved my first wife more than life itself. But now I hate her guts. I do. How do you explain that? What happened to that love? What happened to it, is what I'd like to know. I wish someone could tell me.”

“And certain things around us will change, become easier or harder, one thing or the other, but nothing will ever really be any different. I believe that. We have made our decisions, our lives have been set in motion, and they will go on and on until they stop. But if that is true, then what? I mean, what if you believe that, but you keep it covered up, until one day something happens that should change something, but then you see nothing is going to change after all. What then? Meanwhile, the people around you continue to talk and act as if you were the same person as yesterday, or last night, or five minutes before, but you are really undergoing a crisis, your heart feels damaged…”

“Don’t complain, don’t explain.”

“It's akin to style, what I'm talking about, but it isn't style alone. It is the writer's particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There's plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.”

“I’d like to go out in the front yard and shout something. “None of this is worth it!” That’s what I’d like people to hear.”

“Ralph also took some classes in philosophy and literature and felt himself on the brink of some kind of huge discovery about himself. But it never came.”

“The places where water comes together with other water. Those places stand out in my mind like holy places.”

“It's possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things-- a chair, a window curtain, a fork, a stone, a woman's earring-- with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader's spine-- the source of artistic delight, as Nabokov would have it. That's the kind of writing that most interests me.”

“Happiness. It comes onunexpectedly. And goes beyond, really,any early morning talk about it.”

“There is in the soul a desire for not thinking.For being still. Coupled with thisa desire to be strict, yes, and rigorous.But the soul is also a smooth son of a bitch,not always trustworthy. And I forgot that.”

“She serves me a piece of it a few minutesout of the oven. A little steam risesfrom the slits on top. Sugar and spice -cinnamon - burned into the crust.But she's wearing these dark glassesin the kitchen at ten o'clockin the morning - everything nice -as she watches me break offa piece, bring it to my mouth,and blow on it. My daughter's kitchen,in winter. I fork the pie inand tell myself to stay out of it.She says she loves him. No waycould it be worse.”

“My circumstances of unrelieved responsibility and permanent distraction necessitated the short story form.”

“What's that sound?" Fran said. Then something as big as a vulture flapped heavily down from one of the trees and landed just in front of the car.It shook itself.It turned its long neck toward the car, raised its head, and regarded us. "Goddamn it," I said.I sat there with my hands on the wheel and stared at the thing. "Can you believe it?" Fran said."I never saw a real one before." We both knew it was a peacock, sure,but we didn't say the word out loud.We just watched it.The bird turned its head up in the air and made this harsh cry again.It had fluffed itself out and looked about twice the size it'd been when it landed. "Goddamn," I said again. We stayed where we were in the front seat. The bird moved forward a little.Then it turned its head to the side and braced itself.It kept its bright, wild eye right on us.Its tail was raised, and it was like a big fan folding in and out.There was every color in the rainbow shining from that tail."My God," Fran said quietly.She moved her hand over to my knee. "Goddamn," I said. There was nothing else to say. The bird made this strange wailing sound once more. "May- awe, may-awe!" it went.If it'd been something I was hearing late at night and for the first time, I'd have thought it was somebody dying, or else something wild and dangerous.”

“All of us, all of us, all of us trying to save our immortal souls, some ways seemingly more round about and mysterious than others. We are having a good time here. But hope all will be revealed soon.”

“there isn't enough of anythingas long as we live. But at intervalsa sweetness appears and, given a chanceprevails.”

“I love you, Bro”

“life was a stone cutting and grinding...”

“That morning she pours Teacher's over my belly and licks it off. That afternoon she tries to jump out the window.”

“I could hear my heart beating. I could hear everyone's heart. I could hear the human noise we sat there making, not one of us moving, not even when the room went dark.”

“He wondered if she wondered if he were watching her.”

“A man without hands came to the door to sell me a photograph of my house. Except for the chrome hooks, he was an ordinary-looking man of fifty or so.”

“But I can hardly sit still. I keep fidgeting, crossing one leg and then the other. I feel like I could throw off sparks, or break a window--maybe rearrange all the furniture.”

“Honey, no offense, but sometimes I think I could shoot you and watch you kick.”

“I loved you so much once. I did. More than anything in the whole wide world. Imagine that. What a laugh that is now. Can you believe it? We were so intimate once upon a time I can't believe it now. The memory of being that intimate with somebody. We were so intimate I could puke. I can't imagine ever being that intimate with somebody else. I haven't been.”

“I've crossed some kind of invisible line. I feel as if I've come to a place I never thought I'd have to come to. And I don't know how I got here. It's a strange place. It's a place where a little harmless dreaming and then some sleepy, early-morning talk has led me into considerations of death and annihilation.”

“Then I said something. I said, Suppose, just suppose, nothing had ever happened. Suppose this was for the first time. Just suppose. It doesn't hurt to suppose. Say none of the other had ever happened. You know what I mean? Then what? I said.”

“That's right,' Mel said. 'Some vassal would come along and spear the bastard in the name of love. Or whatever the fuck it was they fought over in those days.'Same things we fight over these days,' Terri said.Laura said, 'Nothing's changed.”

“I'm a heart surgeon, sure, but I'm just a mechanic. I go in and I fuck around and I fix things. Shit.”

“You see, this happened a few months ago, but it's still going on right now, and it ought to make us feel ashamed when we talk like we know what we're talking about when we talk about love.”

“There was this funny thing of anything could happen now that we realized everything had.”

“We knew our days were numbered. We had fouled up our lives and we were getting ready for a shake-up.”

“I'm moving to Nevada. Either there or kill myself.”

“This is awful. I don't know what's going to happen to me or to anyone else in the world.”

“It was [John Gardner's] conviction that if the words in the story were blurred because of the author's insensitivity, carelessness, or sentimentality, then the story suffered from a tremendous handicap. But there was something even worse and something that must be avoided at all costs: if the words and the sentiments were dishonest, the author was faking it, writing about things he didn't care about or believe in, then nobody could ever care anything about it.”

“V.S. Pritchett's definition of a short story is 'something glimpsed from the corner of the eye, in passing.' Notice the 'glimpse' part of this. First the glimpse. Then the glimpse gives life, turned into something that illuminates the moment and may, if we're lucky -- that word again -- have even further ranging consequences and meaning. The short story writer's task is to invest the glimpse with all that is in his power. He'll bring his intelligence and literary skill to bear (his talent), his sense of proportion and sense of the fitness of things: of how things out there really are and how he sees those things -- like no one else sees them. And this is done through the use of clear and specific language, language used so as to bring to life the details that will light up the story for the reader. For the details to be concrete and convey meaning, the language must be accurate and precisely given. The words can be so precise they may even sound flat, but they can still carry; if used right they can hit all the notes.”

“Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they an best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason -- if the worlds are in any way blurred -- the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing 'weak specification'.”

“I am a cigarette with a body attached to it”