#carver

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. ↗

— Raymond Carver

#hooks #no-hands #viewfinder #love

It's not a terribly original thing to say, but I love Raymond Carver. For one thing, he's fun to read out loud. ↗

— Ira Glass

#fun #i #i love #loud #love

We're doing Circle of Snakes, we open up with Skin Carver and we are throwing in Skull Forest later on. ↗

— Glenn Danzig

#circle #doing #forest #later #open

I believe the right question to ask, respecting all ornament, is simply this; was it done with enjoyment, was the carver happy while he was about it? ↗

— John Ruskin

#ask #believe #carver #done #enjoyment

IF you wish to be a writer then don't wait until you write the "great American novel" for they aren't written they are created. If you don't write at all you won't know how "great" that simple book can be. ↗

— Shiree McCarver

#historical-romance #humor #interracial-romance #satyrs #shiree-mccarver

Raymond Carver is good. I think he'll be appreciated more and more. He's an easy writer to imitate. ↗

— Leslie Fiedler

#carver #easy #good #i #i think

I wanted to make comics that get at feelings that connect to the deepest moments of our lives, reading Tolstoy, Flaubert, Flannery O'Connor, Herman Melville, William Faulkner, Vladimir Nabokov and Carver to help gain the confidence to figure it out. I knew, however, the most doomed approach would be to simply create stories that felt 'literary.' ↗

— Chris Ware

#carver #comics #confidence #connect #connor

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. ↗

— William L. Stull

#carver #chekhov #chico-state #john-gardner #paradise