I respect that kind of care for what is being done. University of South Carolina Press, Interestingly, this short story was dramatized by a French company in , together with other texts of fiction by such avowed practitioners of metafiction as Donald Barthelme and Robert Coover, under the title: I said, Suppose, just suppose, nothing had ever happened. Even though [Carver] has clearly reintroduced a modicum of social depiction in his stories, it seems clear that his strategic choices favor the work as construct over an obsolete mimetic conception of the use of literary language. If we consider that the narrator is also the writer of the story, and thus the source of its punctuation, then the omission of the quotation marks is simply another means of characterization: Indeed although Raymond Carver has generally been hailed as the herald of a return to realism in contemporary American literature, several critics have pointed out the fact that his fiction does not ignore the work of his predecessors and is indebted to them in more than one way. Up to the Wenas. In that story, a disquieting salesman calls upon the narrator to demonstrate the magical powers of a vacuum cleaner:
Where do they go, these bits and pieces of ourselves? As we saw above, this is one of the ways metafiction manifests itself under the guise of realistic fiction. I like that way of working on something. I drop lots of sour cream onto his potato. In that story too, storytelling is thematized, as a divorced father tells his daughter about an episode of his youth, which happened just after her birth. A Study of the Short Fiction. I sprinkle bacon and chives over his sour cream. Piles of leaves wherever I look. Like her husband, she is the pawn of circumstances, and allows herself to become included in his rival script. Elle a aussi traduit deux romans de Stanley Elkin: Cordesse remarks that first-person narration has become a favorite with realistic writers, since it supposedly coincides with maximum authorial disengagement, and thus makes referential illusion all the easier. What do you care? I am your mother. As she expresses the hope of a possible change for both of them, his words become superimposed on her own narrative, thus negating it: She says, Are you satisfied now? The final question, substituting why for the expected how, rings like an echo of the title. She says, I forgive you. I think that is really part of it. Somebody ought to make an effort here. Fiction and the Figures of Life. Rita is interested only in closure, and presents the reader with a reflection of himself which he must try not to resemble: One obvious reason for their absence is the confusion which might be engendered by the proliferation of quotation marks, since most of the story consists in the dialogue between the waitress and her fat customer. Evan Connell said once that he knew he was finished with a story when he found himself going through it and taking out commas and then going through the story again and putting commas back in the same place. I ran out of gas, I had to walk for gas. This story is getting interesting now, Rita says. I think a little menace is fine to have in a story.
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