Raymond Carver's What We Talk About When We Talk About Love by Brian Evenson
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The author leaves no question that he remains grateful for the stories as he first encountered them and prefers them to the versions Carver favored, yet he identifies with how the author felt like an “imposter.” A revelatory meditation on reading, writing, and editing.
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Synopsis

A haunting meditation on love, loss, companionship, and finding one’s way through the dark, Raymond Carver’s What We Talk About When We Talk About Love is one of the most important and influential short story collections in contemporary literature. In his entry in the esteemed Bookmarked series, acclaimed author Brian Evenson offers his personal and literary take on this classic Carver collection.

Brian Evenson is the author of several books of fiction, most recently the story collection A Collapse of Horses (Coffee House Press, 2016) and the novella The Warren (Tor.com, 2016). His 2012 books Windeye and Immobility were both finalists for a Shirley Jackson Award. His novel Last Days won the American Library Association’s award for Best Horror Novel of 2009. His novel The Open Curtain was a finalist for an Edgar Award and an International Horror Guild Award. He lives in Los Angeles and teaches in the Critical Studies Program at CalArts.

 

About Brian Evenson

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BRIAN EVENSON is the author of Last Days (formerly titled Brotherhood of Mutilation) and The Open Curtain (Coffee House), which was a finalist for an Edgar Award and an IHG Award and was among Time Out New York's top books of 2006. He lives and works in Providence, Rhode Island, where he directs Brown University's Literary Arts Program. Other books include The Wavering Knife (which won the IHG Award for best story collection) and The Brotherhood of Mutilation. He has translated work by Chrstian Gailly, Jean Frèmon and Jacques Jouet. He has received an O. Henry Prize as well as an NEA fellowship.
 
Published April 17, 2018 by Ig Publishing. 184 pages
Genres: Biographies & Memoirs, Literature & Fiction. Fiction
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Kirkus

Excellent
on Dec 11 2017

The author leaves no question that he remains grateful for the stories as he first encountered them and prefers them to the versions Carver favored, yet he identifies with how the author felt like an “imposter.” A revelatory meditation on reading, writing, and editing.

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