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• W131589324 abstract "The tracing of changes in Raymond Carver's short story style is one of the most persistent topics of Carver criticism. Unfortunately, by focusing on change, critics have overlooked one of the most consistent aspects of Carver's short stories, their sense of menace. In Fires, Carver explains: I like when there is some sense of menace in short stories. There has to be tension, a sense that something is imminent. . (17). William Stull notes that one of Carver's early stories, Pastoral (1963), is shaped an 'iceberg,' its marital conflict seven-eighths submerged (Raymond 466). Throughout his career, Carver achieved a sense of menace by leaving out, or by providing clues to, crucial aspects of the story. Both character and reader sense that something dangerous or menacing is imminent or submerged, but both character and reader, unable to find the meaning of the given clues, must battle between readings of those clues. Menace develops as meaning itself becomes elusive. A second part of the method by which Carver achieves his unique sense of menace is his basing existential matters on the story's clues instead of on clearly stated facts. In What Is It? the used-car salesman eyes Leo and for sudden movement (Will You Please 216), watches for clues, and this watching highlights both characters' uncertainty about what the other sees or believes. This state of menacing uncertainty is equally evident in What We Talk About When We Talk About Love when the quiet conversation suddenly becomes much, much quieter. 'Just shut up for once in your life,' Mel said very quietly. 'Will you do me a favor and do that for a minute?' (What We Talk About 146) These sentences seem out of place in a conversation investigating love, so Mel's relationship to Terri is made ambiguous just when he is attempting to clarify it. Here, the first sentence is a harsh command, but the next is a request for a favor in the form of a question. The incongruity of tone confuses, contradicts, and, therefore, menaces. However, again, this sense that language is confusing rather than clarifying and that unanswerable but crucial questions are being asked does not simply impart menace within Carver's stories. In stories taken from throughout his career, Carver's menace affects the reader as he or she struggles with the language that seems to be stating something quite simple, but that is in reality hiding something, something important, and something that, once seems clear, still isn't an answer. Carver effects his particular brand of menace in the title story of his first collection, Will You Please Be Quiet, Please? In this story, the clues are made polysemous by subtle contradictions. Important dates are given as fact, as definite history, but then the dates are changed. Even a careful reader may not notice the changes or immediately realize their importance, but many readers sense that the main character's moment of realization is more than first seems to be. It is exactly this vague sense of missing something that helps to give the reader a sense of menace. An omniscient narrator introduces Ralph and Marian Wyman as a settled-in couple with two children, four and five years old. The narrator also gives a detailed history, including the fact that Ralph and Marian have only a single injury to their marriage, and that was well in the past, two years ago this winter. It was something they had never talked about since (228). At first, seems that all that is at issue is whether or not Marian had [a] go at it (236) with a man named Mitchell Anderson, and the menace rises as the couple teases around the topic. Do you ever think about that she asked, still looking at him. He was stunned [because he is thinking about it] and shifted in the chair, and he said, Which party? You mean the one two or three years ago? She nodded. He waited, and when she offered no further comment, he said, What about it? …" @default.
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• W131589324 date "1994-09-22" @default.
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• W131589324 title "The stories of Raymond Carver: the menace of perpetual uncertainty" @default.
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