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Comment: Publisher: Vintage
Date of Publication: 1989
Binding: paperback
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Description: 8vo - over 7Ÿ" - 9Ÿ" tall 0679723056 Please email us if you would like further information or if you would like us to send you a picture of the book. The book i am offering may not have the same cover as the one pictured. they are stock photos from the site. Thanks for looking!
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What We Talk About When We Talk About Love: Stories Paperback – Jun 18 1989

4.4 out of 5 stars 34 customer reviews

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Product Details

  • Paperback: 176 pages
  • Publisher: Vintage; Vintage Books ed edition (June 18 1989)
  • Language: English
  • ISBN-10: 0679723056
  • ISBN-13: 978-0679723059
  • Product Dimensions: 13 x 1.3 x 20.3 cm
  • Shipping Weight: 136 g
  • Average Customer Review: 4.4 out of 5 stars 34 customer reviews
  • Amazon Bestsellers Rank: #30,069 in Books (See Top 100 in Books)
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Product Description

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"What We Talk About When We Talk About Love" is not only the most well-known short story title of the latter part of the 20th century; it has come to stand for an entire aesthetic, the bare-bones prose style for which Raymond Carver became famous. Perhaps, it could be argued, too famous, at least for his fiction's own good. Like those of Hemingway or any other writer similarly loved, imitated, parodied, and reviled, these stories can sometimes produce the sense of reading pastiche. "A man without hands came to the door to sell me a photograph of my house." "That morning she pours Teacher's over my belly and licks it off. That afternoon she tries to jump out the window." "My friend Mel McGinnis was talking. Mel is a cardiologist, and sometimes that gives him the right." What other writer ever produced first sentences like these? They are like doors into Carverworld, where everyone speaks in simple declarative phrases, no one ever stops at one beer, and failure or violence are the true outcomes of the American dream.

Yet these stories bear careful re-reading, like any truly important and enduring work. For one thing, Carver is one of the few writers who can make desperation--cutting your ex-wife's telephone cord in the middle of a conversation, standing on your own roof chunking rocks while a man with no hands takes your picture--deeply funny. Then there is the sheer craft that went into their creation. Despite their seeming simplicity, his tales are as artfully constructed as poems--and like poems, the best of them can make your breath catch in your throat. In the title piece, for instance, after the gin has been drunk, after the stories have been told, after the tensions in the room have come to the surface and subsided again, there comes a moment of strange lightness and peace: "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."

Much of what happens in What We Talk About When We Talk About Love (1981) happens offstage, and we're left with tragedy's props: booze, instant coffee, furniture from a failed marriage, cigarettes smoked in the middle of the night. This is not merely a matter of technique. Carver leaves out a great deal, but that's only a measure of his characters' vulnerability, the nerve endings his stories lay bare. To say anything more, one feels, would simply hurt too much. --Mary Park


"Carver's fiction is so spare in manner that it takes a time before one realizes how completely a whole culture and a whole moral condition is represented by even the most seemingly slight sketch. This second volume of stories is clearly the work of a full-grown master." —Frank Kermode

"Raymond Carver's America is...clouded by pain and the loss of dreams, but it is not as fragile as it looks. It is a place of survivors and a place of stories.... [Carver] has done what many of the most gifted writers fail to do: He has invented a country of his own, like no other except that very world, as Wordsworth said, which is the world to all of us." —Michael Wood, front page, The New York Times Book Review

"Splendid.... The collection as a whole, unlike most, begins to grow and resonate in a wonderful cumulative effect." —Tim O'Brien, Chicago Tribune Book World

"Carver not only enchants, he convinces." —J.D. Reed, Time

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Top Customer Reviews

Format: Paperback
I used to hate Carver. "Nothing happens in these stories!" I would say. "What does it MEAN, for God's sake?!" It took me a while to realise that Carver's genius isn't for the grand epiphany, the convoluted plot, or the surprise ending. His genius is for moments of pathos; for moments of carefully observed humanity; for human foibles unflinchingly, but never unkindly, revealed. You really have to read him for yourself to understand, but here's an example: the story "Gazebo", which is one of my favourites from this collection. The story works because what 'the gazebo' means to the couple in the story is something most of us have felt: a dream of future happiness that is now lost to us; lost because we don't see how we might escape the banality of our own lives; lost because we fail to see how close we are to achieving it, if only we could slightly change the way we see things, or the way we live. None of this is overtly stated in the story - and that's Carver's genius. It is simply implied by juxtaposition. Thematic statements and grand epiphanies undermine so many stories (even some of Carver's earlier ones) because they are embarrassing. I don't mean embarrassing for the writer, I mean embarrassing for us, the readers: to have these slightly pathetic, vaguely shameful, and yet very human moments which are recognisably our own shoved in our faces feels like an accusation, and one we understandably reject. But to have them placed before us, gently, apparently undeliberately, so that we might see them for ourselves is wonderful. It engages OUR powers of observation and reflection, not just the writer's. We see ourselves reflected there in the story, and it's a private moment of self-revelation, of self-understanding. And more often than not, this is NOT a life-changing experience for us.Read more ›
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Format: Paperback
If you're really interested in reading Raymond Carver's work, choose anything he wrote after 1982. Take a look at Cathedral, or, even better, Where I'm Calling From, which is his definitive retrospective.
So why is this book Gordon Lish's? Check out the New York Times article "The Carver Chronicles" by D. T. Max, published in late 1998. Up until the publication of Cathedral, editor Gordon Lish hacked, slashed, and rewrote the endings of Carver's stories. The stories Lish edited do not even resemble the later revisions by Carver. In many cases, as Max cites in his expose, Lish cut more than 50% of what Carver submitted, often adding bleak endings that were never there. Nearly every story in this collection suffers from Lish's bleak outlook. Carver was never the minimalist; Lish was.
This collection may be worthwhile to some folks who want to see the relationship between an editor and a writer, or it may be useful to diehard Carver fans who want to see the changes Carver made in his later collections. Otherwise, unless you want to read Gordon Lish stories, stay away from this book and read Carver's later work.
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Format: Paperback
The question of authorship should be immaterial to the reading of this work. Do we care what was left out? Do we care who wrote which sentence? In the end, whatever the process that produced them, this collection contains some of the most tragically beautiful stories I've read. The prose is minimal, but masterfully minimal -- it feels like the stories form the briefest of forays across the skin of a giant animal, and though you can't tell exactly what the animal is, or where it is going, you know there is something vaguely wrong, deep down below. The style Carver employs means that the smallest of incidents become important in mysterious ways, as if each part of the story, no matter how seemingly insignificant, contains part of the clue to the whole. But because of the sparse nature of the work, the clues never sum to a complete solution -- I feel like these stories reside somewhere between the tiny fictions we invent for people we glance at in the street, and fully-fledged realism which doesn't leave us room for imagination. Carver takes this space and with deft touches makes it seem both familiar and strange. Can't say enough about him. If you aspire to writing short stories, this will either set the bar for you or make you want to give up...
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Format: Paperback
"What We Talk About When We Talk About love" is probably the best compilation of one of the greatest authors of the twentieth century available.
Unlike Cathedral, which sometimes feels a bit cliche or transparent, the work displayed here is pure genius, mastery of minimalism.
The main criticisms of Carver's work include tedium and a lack of "uplifting" messages. Personally I don't have a problem with either of these things, but beyond that I don't see these qualities in Carver's work.
There is an idea in Japanese Theatre of 'ma', what Hayao Miyazaki aptly describes as "The sound between claps". Carver is almost certainly the undisputed western king of this concept.
Carver not only emphasizes the everyday, but the everyday in between the incident.
There is an overwhelming amount of emotion, psychology and conflict to these pieces. The supposed hum-drum of pieces such as "Popular Mechanics" should be viewed as what they are, characters attempts to avoid conflict, where as "Tell the Women We're Going Out" offers a beautiful look at both the problems behind the problem and the way seeming innocence in a moment can be completely destroyed by context. Fans might want to try works of Anton Chekov, Charles Bukowski, John Gardner, Henrik Ibsen or the film "In the Bedroom".
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