'new fiction', 'hyper-real', and the appalling British tag of 'dirty realism', whilst at the same time being forced to use such a term as 'hyper-real' to locate Carver's writing in opposition to the 'baroque, long-winded projects of postmodernists' in an endeavour to situate Carver's work in a literary and social context. Nesset is uneasy with the various categorizing terms used to designate Carver's fiction: 'new realist', 'minimalist'. 7), a rather tongue-in-cheek description of what is actually close reading that aims to show the 'correspondences and convergences, identifying patterns, tying together Carver's achievement as a unifiable corpus' (p. He calls his critical method 'formalist, New Critical in a postmodern-modernist, if old-fashioned, way' (p. 7) in the hope that it will pave the way for future studies, a prospect certain to be fulfilled. Nesset has modest ambitions and offers this as 'a preliminary exploration and assessment of Carver's fiction' (p. Kirk Nesset's study is the first book-length critique of Carver's work. The Short Stories of Raymond Carver: A Critical Study.
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