Raymond Carver, who became a master-storyteller of his generation and was hailed in Europe as 'the American Chekhov', wrote of himself: "I began as a poet. My first publication was a poem. So I suppose on my tombstone I'd be very pleased if they put 'Poet and short-story writer - and occasional essayist', in that order." This complete edition ...
Raymond Carver, who became a master-storyteller of his generation and was hailed in Europe as 'the American Chekhov', wrote of himself: "I began as a poet. My first publication was a poem. So I suppose on my tombstone I'd be very pleased if they put 'Poet and short-story writer - and occasional essayist', in that order." This complete edition allows readers to experience the range and overwhelming power of Carver's poetry for the first time. It brings together in the order of their American publication the poems of Fires (1985), Where Water Comes Together with Other Water (1986), Ultramarine (1988), A New Path to the Waterfall (1989) and No Heroics, Please (1991). For readers who know Carver's middle period only through his selected poems, In a Marine Light (1988), it includes the windfall of 51 poems not previously published in Britain. All of Us is edited by Professor William L. Stull of the University of Hartford, and introduced with an essay on Raymond Carver's methods of composition by his widow, the poet Tess Gallagher.
Publishers Weekly, 1998-07-27 Carver published three major poetry collections during the five years prior to his death in 1988 at age 50. Edited by Univ. of Hartford professor William Stull, and introduced by Carver's widow, the poet Tess Gallagher, this definitive gathering includes those books as published, the posthumous A New Path to the Waterfall, and numerous appendices of previously uncollected poems, notes and sources, and a brief biography. Like the short stories for which he is better known, Carver's poems piercingly observe characters incarcerated by time and circumstance, but whose dreary lives are occasionally ignited by moments of startling clarity. Reading straight through, one is struck by how many of Carver's poems hang on memory, on near forgotten incidents that flash through the poet's mind and produce his peculiarly weighty vignettes. Although Carver concentrated on the poor, bewildered and addictedæamong whom he counted himselfæreaders will notice a marked turn toward the hopeful as they progress. Like the painter of "The Painter & the Fish," Carver, toward the end of his life, "was ready to begin/ again, but he didn't know if one/ canvas could hold it all. Never/ mind. He'd carry it over/ onto another canvas if he had to./ It was all or nothing." Carver put it all into his canvases, and All of Us does a fine job of presenting them for maximum impact. (Sept.) (c) Copyright PWxyz, LLC. All rights reserved
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