书名：What We Talk About When We Talk About Love当我们谈论爱情时我们在谈论什么

作者：Raymond Carver雷蒙德卡佛 

出版社名称：Vintage 

出版时间：1989 

语种：英文 

ISBN：9780679723059 

商品尺寸：13.1 x 1.2 x 20.3 cm 

包装：平装 

页数：176

What We Talk About When We Talk About Love《当我们谈论爱情时我们在谈论什么》是卡佛的成名作和经典之作，描述了小人物被生活打得遍体鳞伤后的孤独和沉默。

当短篇小说集《当我们谈论爱情时我们在谈论什么》于1981年4月出版时，美国传统的现实主义写作正处于萎靡不振的状态，取而代之的是各类试验性的后现代写作，小说流派多到了令人眼花缭乱的地步，如“超小说”“非虚构小说”“自省小说”和“寓言小说”等等。同时，短篇小说集的销售极为窘迫，即使是名家的短篇小说集，也只能卖出去几千本。卡佛的这本短篇小说集如同一针强心剂，为美国短篇小说写作注入了新的生命，对美国现实主义写作传统的复苏起到了决定性的作用。小说集里篇幅不长的十七篇小说也使当时名不见经传的卡佛成了一个备受瞩目的小说家，并为他赢得了“美国的契诃夫”这一称号。《当我们谈论爱情时我们在谈论什么》出版后，效仿者趋之若鹜，卡佛成了美国继海明威之后受到模仿很多的作家。那一时期美国文学杂志经常收到被编辑戏称为“卡佛式小说”的投稿。《时尚先生》（Esquire）曾开出一个现代人必读的书列（共75本），《当我们谈论爱情时我们在谈论什么》就名列其中。 In his second collection, including the iconic and much-referenced title story featured in the Academy Award-winning film Birdman, Carver establishes his reputation as one of the most celebrated short-story writers in American literature—a haunting meditation on love, loss, and companionship, and finding one’s way through the dark. Review “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,TimeWhat We Talk About When We Talk About Love《当我们谈论爱情时我们在谈论什么》是卡佛的成名作和公认的经典之作。收入卡佛17个名篇：《你们为什么不跳个舞》《取景框》《咖啡先生和修理先生》《凉亭》《我可以看见细小的东西》《纸袋》《洗澡》《告诉女人们我们出去一趟》《粗斜棉布》《家门口就有这么多的水》《第三件毁了我父亲的事》《严肃的谈话》《平静》《大众力学》《所有东西都粘在了他身上》《当我们谈论爱情时我们在谈论什么》《还有一件事》。哑巴毁了我父亲的余生，男人和女人的爱逐渐沉重而摇摆不定，过生日的男孩在医院里等待死亡，爱得死去活来的十七岁男孩和女孩有了女儿……卡佛用极简的遣词、冷静疏离的叙事，表现现代社会中人的边缘性以及现代人脆弱的自我意识。卡佛想说，像一个人一样活着并非易事，而且，爱情不过是一种记忆罢了。

雷蒙德.卡佛（1938-1988），美国当代著名短篇小说家、诗人，美国“极简主义”代表作家，并被誉为“新小说”创始者。1938年5月25日出生于俄勒冈州克拉斯坎尼镇，1988年8月2日因肺癌去世。高中毕业后，即养家糊口艰难谋生，业余学习写作。卡佛人生的前一半充满了苦难与失望。失业，酗酒，破产，妻离子散，友人背弃，坠入人生之谷底。晚年文学声名渐高，却罹患肺癌，五十岁便英年早逝。卡佛的作品风格和他自身经历密切相关，精简冷硬。他不是用天才来写作，而是呕心沥血的写作。卡佛一生作品以短篇小说和诗为主，代表作有《请你安静一下好不好？》、《当我们谈论爱情时我们在谈论什么》、《大教堂》、《何方来电》等。

Raymond Carverwas born in Clatskanie, Oregon, in 1938. His first collection of stories, Will You Please Be Quiet, Please (a National Book Award nominee in 1977), was followed by What We Talk About When We Talk About Love, Cathedral (nominated for the Pulitzer Prize in 1984), and Where I’m Calling From in 1988, when he was inducted into the American Academy of Arts and Letters. He died August 2, 1988, shortly after completing the poems of A New Path to the Waterfall. Why Don’t You Dance?你们为什么不跳个舞

Viewfinder取景框 Mr. Coffee And Mr. Fixit咖啡先生和修理先生 Gazebo凉亭 I Could See The Smallest Things我可以看见细小的东西 Sacks纸袋 The Bath洗澡 Tell The Women We’re Going告诉女人们我们出去一趟 After The Denim粗斜棉布 So Much Water So Close To Home家门口就有这么多的水 The Third Thing That Killed My Father Off第三件毁了我父亲的事 A Serious Talk严肃的谈话 The Calm平静 Popular Mechanics大众力学 Everything Stuck To Him所有东西都粘在了他身上 What We Talk About When We Talk About Love当我们谈论爱情时我们在谈论什么 One More Thing还有一件事 In the kitchen, he poured another drink and looked at the bedroom suite in his front yard. The mattress was stripped and the candy- striped sheets lay beside two pillows on the chiffonier. Except for that, things looked much the way they had in the bedroom— nightstand and reading lamp on his side of the bed, nightstand and reading lamp on her side.

His side, her side. He considered this as he sipped the whiskey. The chiffonier stood a few feet from the foot of the bed. He had emptied the drawers into cartons that morning, and the cartons were In the living room. A portable heater was next to the chiffonier. A rattan chair with a decorator pillow stood at the foot of the bed. The buffed aluminum kitchen set took up a part of the driveway. A yellow muslin cloth, much too large, a gift, covered the table and hung down over the sides. A potted fern was on the table, along with a box of silverware and a record player, also gifts. A big console- model television set rested on a coffee table,and a few feet away from this stood a sofa and chair and a floor lamp. The desk was pushed against the garage door. A few utensils were on the desk, along with a wall clock and two framed prints. There was also in the driveway a carton with cups, glasses, and plates, each object wrapped in newspaper. That morning he had cleared out the closets, and except for the three cartons in the living room, all the stuff was out of the house. He had run an extension cord on out there and everything was connected. Things worked, no different from how it was when they were inside. Now and then a car slowed and people stared. But no one stopped. It occurred to him that he wouldn’t, either. “It must be a yard sale,” the girl said to the boy. This girl and this boy were furnishing a little apartment. “Let’s see what they want for the bed,” the girl said. “And for the TV,” the boy said. The boy pulled into the driveway and stopped in front of the kitchen table. They got out of the car and began to examine things, the girl touching the muslin cloth, the boy plugging in the blender and turning the dial to MINCE, the girl picking up a chafing dish, the boy turning on the television set and making little adjustments. He sat down on the sofa to watch. He lit a cigarette, looked around, flipped the match into the grass. The girl sat on the bed. She pushed off her shoes and lay back. She thought she could see a star. “Come here, Jack, Try this bed. Bring one of those pillows,” she said. “How is it?” he said. “Try it,” she said. He looked around. The house was dark, “I feel funny,” he said. “Better see if anybody’s home.” She bounced on the bed.