Raymond Carver Quotes

Woke up this morning with a terrific urge to lie in bed all day and read.

I could hear my heart beating. I could hear everyone's heart. I could hear the human noise we sat there making, not one of us moving, not even when the room went dark.

And what did you want? To call myself beloved, to feel myself beloved on the earth.

Late Fragment And did you get what you wanted from this life, even so? I did. And what did you want? To call myself beloved, to feel myself beloved on the earth.

That's all we have, finally, the words, and they had better be the right ones.

It ought to make us feel ashamed when we talk like we know what we're talking about when we talk about love.

I loved you so much once. I did. More than anything in the whole wide world. Imagine that. What a laugh that is now. Can you believe it? We were so intimate once upon a time I can't believe it now. The memory of being that intimate with somebody. We were so intimate I could puke. I can't imagine ever being that intimate with somebody else. I haven't been.

I've crossed some kind of invisible line. I feel as if I've come to a place I never thought I'd have to come to. And I don't know how I got here. It's a strange place. It's a place where a little harmless dreaming and then some sleepy, early-morning talk has led me into considerations of death and annihilation.

But I can hardly sit still. I keep fidgeting, crossing one leg and then the other. I feel like I could throw off sparks, or break a window--maybe rearrange all the furniture.

You've got to work with your mistakes until they look intended. Understand?

Honey, no offense, but sometimes I think I could shoot you and watch you kick.

Dreams, you know, are what you wake up from.

there isn't enough of anything as long as we live. But at intervals a sweetness appears and, given a chance prevails.

There was a time when I thought I loved my first wife more than life itself. But now I hate her guts. I do. How do you explain that? What happened to that love? What happened to it, is what I'd like to know. I wish someone could tell me.

Something’s died in me,” she goes. “It took a long time for it to do it, but it’s dead. You’ve killed something, just like you’d took an axe to it. Everything is dirt now.

Don’t complain, don’t explain.

Get in, get out. Don't linger. Go on.

This is awful. I don't know what's going to happen to me or to anyone else in the world.

He wondered if she wondered if he were watching her.

and it ought to make us feel ashamed when we talk like we know what we're talking about when we talk about love.

I am a cigarette with a body attached to it

There is no answer. It's okay. But even if it wasn't okay, what am I supposed to do?

Woke up this morning with a terrific urge to lie in bed all day and read. Fought against it for a minute. Then looked out the window at the rain. And gave over. Put myself entirely in the keep of this rainy morning. Would I live my life over again? Make the same unforgivable mistakes? Yes, given half a chance. Yes. - Rain

My heart is broken,” she goes. “It’s turned to a piece of stone. I’m no good. That’s what’s as bad as anything, that I’m no good anymore.

It's possible, in a poem or short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things—a chair, a window curtain, a fork, a stone, a woman's earring—with immense, even startling power.

Booze takes a lot of time and effort if you're going to do a good job with it.

But he stays by the window, remembering that life. They had laughed. They had leaned on each other and laughed until the tears had come, while everything else—the cold and where he'd go in it—was outside, for a while anyway.

There is in the soul a desire for not thinking. For being still. Coupled with this a desire to be strict, yes, and rigorous. But the soul is also a smooth son of a bitch, not always trustworthy. And I forgot that.

Happiness. It comes on unexpectedly. And goes beyond, really, any early morning talk about it.

It is August. My life is going to change. I feel it.

Every great or even every very good writer makes the world over according to his own specifications.

All this, all of this love we're talking about, it would just be a memory. Maybe not even a memory. Am I wrong? Am I way off base? Because I want you to set me straight if you think I'm wrong. I want to know. I mean, I don't know anything, and I'm the first one to admit it.

My lungs are thick with the smoke of your absence.

There was this funny thing of anything could happen now that we realized everything had.

The places where water comes together with other water. Those places stand out in my mind like holy places.

Drinking’s funny. When I look back on it, all of our important decisions have been figured out when we were drinking. Even when we talked about having to cut back on drinking, we’d be sitting at the kitchen table or out at the picnic table with a six-pack or whiskey.

A man can go along obeying all the rules and then it don’t matter a damn anymore.

I'm a heart surgeon, sure, but I'm just a mechanic. I go in and I fuck around and I fix things. Shit.

You see, this happened a few months ago, but it's still going on right now, and it ought to make us feel ashamed when we talk like we know what we're talking about when we talk about love.

The light was draining out of the room, going back through the window where it had come from.

I am too nervous to eat pie.

I'm always learning something. Learning never ends.

When you live in the dark for so long, you begin to love it. And it loves you back, and isn’t that the point? You think, the face turns to the shadows, and just as well. It accepts, it heals, it allows. But it also devours.

Write what you know, and what do you know better than your own secrets?

I’d like to go out in the front yard and shout something. “None of this is worth it!” That’s what I’d like people to hear.

What good are insights? They only make things worse.

Ralph also took some classes in philosophy and literature and felt himself on the brink of some kind of huge discovery about himself. But it never came.

They had laughed. They had leaned on each other and laughed until the tears had come, while everything else--the cold, and where he'd go in it--was outside, for a while anyway.

Then I said something. I said, Suppose, just suppose, nothing had ever happened. Suppose this was for the first time. Just suppose. It doesn't hurt to suppose. Say none of the other had ever happened. You know what I mean? Then what? I said.

Nights without beginning that had no end. Talking about a past as if it'd really happened. Telling themselves that this time next year, this time next year, things were going to be different.

What do any of us really know about love?

Suppose I say summer, write the word "hummingbird", put it in an envelope, take it down the hill to the box. When you open my letter you will recall those days and how much, just how much, I love you.

You're a beautiful drunk, daughter. But you're a drunk.

They talked on into the early morning, the high, pale cast of light in the windows, and they did not think of leaving.

Happiness So early it's still almost dark out. I'm near the window with coffee, and the usual early morning stuff that passes for thought. When I see the boy and his friend walking up the road to deliver the newspaper. They wear caps and sweaters, and one boy has a bag over his shoulder. They are so happy they aren't saying anything, these boys. I think if they could, they would take each other's arm. It's early in the morning, and they are doing this thing together. They come on, slowly. The sky is taking on light, though the moon still hangs pale over the water. Such beauty that for a minute death and ambition, even love, doesn't enter into this. Happiness. It comes on unexpectedly. And goes beyond, really, any early morning talk about it.

And the terrible thing, the terrible thing is, but the good thing too, the saving grace, is that if something happened to one of us--excuse me for saying this--but if something happened to one of us tomorrow, I think the other one, the other person, would grieve for a while, you know, but then the surviving party would go out and love again, have someone else soon enough. All this, all of this love we're talking about, it would just be a memory. Maybe not even a memory.

That morning she pours Teacher's over my belly and licks it off. That afternoon she tries to jump out the window.

You have to have been in love to write poetry.

We opened our eyes and turned in bed to take a good look at each other. We both knew it then. We'd reached the end of something, and the thing was to find out where new to start.

All of us, all of us, all of us trying to save our immortal souls, some ways seemingly more round about and mysterious than others. We are having a good time here. But hope all will be revealed soon.

I hate tricks. At the first sign of a trick or gimmick in a piece of fiction, a cheap trick or even an elaborate trick, I tend to look for cover. Tricks are ultimately boring, and I get bored easily, which may go along with my not having much of an attention span. But extremely clever chi-chi writing, or just plain tomfoolery writing, puts me to sleep. Writers don't need tricks or gimmicks or even necessarily need to be the smartest fellows on the block. At the risk of appearing foolish, a writer sometimes needs to be able to just stand and gape at this or that thing- a sunset or an old shoe- in absolute and simple amazement.

I'm moving to Nevada. Either there or kill myself.

And certain things around us will change, become easier or harder, one thing or the other, but nothing will ever really be any different. I believe that. We have made our decisions, our lives have been set in motion, and they will go on and on until they stop. But if that is true, then what? I mean, what if you believe that, but you keep it covered up, until one day something happens that should change something, but then you see nothing is going to change after all. What then? Meanwhile, the people around you continue to talk and act as if you were the same person as yesterday, or last night, or five minutes before, but you are really undergoing a crisis, your heart feels damaged…

We knew our days were numbered. We had fouled up our lives and we were getting ready for a shake-up.

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.

My circumstances of unrelieved responsibility and permanent distraction necessitated the short story form.

She won't give him back his look.

and did you get what you wanted from this life even so? i did.

How far would you run with a piece of lead in your heart?

The past is unclear. It's as if there is a film over those early years. I can't even be sure that the things I remember happening really happened to me.

That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places...

I want to hide from it, that’s what I want to do. I want to just close my eyes and let it pass by. Let it take the next man.

In short, everything about his life was different for him at the bottom of that well.

We'll try this first. If it doesn't work, we'll try something else. That's life, isn't it?

But I guess even the knights were vessels to someone. Isn't that the way it worked? But then everyone is always a vessel to someone.

At least I want to get up early one more morning, before sunrise. Before the birds, even. I want to throw cold water on my face and be at my work table when the sky lightens and smoke begins to rise from the chimneys of the other houses. I want to see the waves break on this rocky beach, not just hear them break as I did in my sleep. I want to see again the ships that pass through the Strait from every seafaring country in the world - old, dirty freighters just barely moving along, and the swift new cargo vessels painted every color under the sun that cut the water as they pass. I want to keep an eye out for them. And for the little boat that plies the water between the ships and the pilot station near the lighthouse. I want to see them take a man off the ship and put another one up on board. I want to spend the day watching this happen and reach my own conclusions. I hate to seem greedy - I have so much to be thankful for already. But I want to get up early one more morning, at least. And go to my place with some coffee and wait. Just wait, to see what's going to happen.

She serves me a piece of it a few minutes out of the oven. A little steam rises from the slits on top. Sugar and spice - cinnamon - burned into the crust. But she's wearing these dark glasses in the kitchen at ten o'clock in the morning - everything nice - as she watches me break off a piece, bring it to my mouth, and blow on it. My daughter's kitchen, in winter. I fork the pie in and tell myself to stay out of it. She says she loves him. No way could it be worse.

Why do you keep saying that " he asked in response "Apples and oranges aren't that different really. I mean they're both fruit. Their weight is extremely similar. They both contain acidic elements. They're both roughly spherical. They serve the same social purpose. With the possible exception of a tangerine I can't think of anything more similar to an orange than an apple. If I was having lunch with a man who was eating an apple and-while I was looking away-he replaced that apple with an orange I doubt I'd even notice. So how is this a metaphor for difference I could understand if you said 'That's like comparing apples and uranium ' or 'That's like comparing apples with baby wolverines ' or 'That's like comparing apples with the early work of Raymond Carver ' or 'That's like comparing apples with hermaphroditic ground sloths.' Those would all be valid examples of profound disparity.

I love you, Bro

There is no God, and conversation is a dying art.

In addition to being in love, we like each other and enjoy one another's company.

A man without hands came to the door to sell me a photograph of my house.

Why don’t you kids dance? he decided to say, and then said it. "Why don’t you dance?

Mel thought real love was nothing less than spiritual love. He'd said he'd spent five years in a seminary before quitting to go to medical school. He said he still looked back on those years in the seminary as the most important years of his life.

Well, the husband was very depressed for the longest while. Even after he found out that his wife was going to pull through, he was still very depressed. Not about the accident, though. I mean, the accident was one thing, but it wasn't everything. I'd get up to his mouth-hole, you know, and he'd say no, it wasn't the accident exactly but it was because he couldn't see her through his eye-holes. He said that was what was making him feel bad. Can you imagine? I'm telling you, the man's heart was breaking because he couldn't turn his goddamn head and see his goddamn wife.

Maybe once, maybe years ago, I was a different kind of human being. I've forgotten, I don't know for sure.

If we're lucky, writer and reader alike, we'll finish the last line or two of a short story and then just sit for a minute, quietly. Ideally, we'll ponder what we've just written or read; maybe our hearts or intellects will have been moved off the peg just a little from where they were before. Our body temperature will have gone up, or down, by a degree. Then, breathing evenly and steadily once more, we'll collect ourselves, writers and readers alike, get up, "created of warm blood and nerves" as a Chekhov character puts it, and go on to the next thing: Life. Always life.

It's akin to style, what I'm talking about, but it isn't style alone. It is the writer's particular and unmistakable signature on everything he writes. It is his world and no other. This is one of the things that distinguishes one writer from another. Not talent. There's plenty of that around. But a writer who has some special way of looking at things and who gives artistic expression to that way of looking: that writer may be around for a time.

It's possible, in a poem or a short story, to write about commonplace things and objects using commonplace but precise language, and to endow those things-- a chair, a window curtain, a fork, a stone, a woman's earring-- with immense, even startling power. It is possible to write a line of seemingly innocuous dialogue and have it send a chill along the reader's spine-- the source of artistic delight, as Nabokov would have it. That's the kind of writing that most interests me.

I think a little menace is fine to have in a story. For one thing, it's good for the circulation.

Things change, he says. I don't know how they do. But they do without your realizing it or wanting them to.

There are thousands of talented writers at work in America, and only a few of them (I think the number might be as low as five per cent) can support their families and themselves with their work. There’s always some grant money available, but it’s never enough to go around. As for government subsidies for creative writers, perish the thought. Tobacco subsidies, sure. Research grants to study the motility of unpreserved bull sperm, of course. Creative-writing subsidies, never. …America has never much revered her creative people; as a whole, we’re more interested in commemorative plates from the Franklin Mint and Internet greeting-cards. And if you don’t like it, it’s a case of tough titty, said the kitty, ‘cause that’s just the way things are. Americans are a lot more interested in TV quiz shows than in the short fiction of Raymond Carver.

When you live in the dark for so long, you begin to love it. And it loves you back, and isn’t that the point? You think, the face turns to the shadows, and just as well. It accepts, it heals, it allows. But it also devours.

Your face, your mouth, your shoulder inconceivable to me now! Where did they go? It’s like I dreamed them. The stones we brought home from the beach lie face up on the windowsill, cooling. Come home. Do you hear? My lungs are thick with the smoke of your absence.

I don't know why, but I suddenly felt a long way away from everybody I had known and loved when I was a girl. I missed people. For a minute I stood there and wished I could get back to that time. Then with my next thought I understood clearly that I couldn't do that. No. But it came to me then that my life did not remotely resemble the life I thought I'd have when I had been young and looking ahead to things.

But I guess even the knights were vessels to someone. Isn't that the way it worked? But then everyone is always a vessel to someone. Isn't that right, Terri? But what I liked about the knights, besides their ladies, was that they had that suit of armor, you know, and they couldn't get hurt very easily. No cars in those days, you know? No drunk teenagers to tear into your ass." Vassals," Terri said. What?" Mel said. Vassals," Terri said. "They were called vassals.

Evan Connell said once that he knew he was finished with a short story when he found himself going through it and taking out commas and then going through the story again and putting the commas back in the same places. I like that way of working on something. I respect that kind of care for what is being done. That's all we have, finally, the words, and they had better be the right ones, with the punctuation in the right places so that they an best say what they are meant to say. If the words are heavy with the writer's own unbridled emotions, or if they are imprecise and inaccurate for some other reason -- if the worlds are in any way blurred -- the reader's eyes will slide right over them and nothing will be achieved. Henry James called this sort of hapless writing 'weak specification'.

Close your eyes now,' the blind man said to me. I did it. I closed them just like he said. 'Are they closed?' he said. 'Don't fudge.' 'They're closed,' I said. 'Keep them that way,' he said. He said, 'Don't stop now. Draw.' So we kept on with it. His fingers rode my fingers as my hand went over the paper. It was like nothing else in my life up to now. Then he said, 'I think that's it. I think you got it,' he said. 'Take a look. What do you think?' But I had my eyes closed. I thought I'd keep them that way for a little longer. I thought it was something I ought to do. 'Well?" he said. 'Are you looking?' My eyes were still closed. I was in my house. I knew that. But I didn't feel like I was inside anything. 'It's really something,' I said.

Fear of seeing a police car pull into the drive. Fear of falling asleep at night. Fear of not falling asleep. Fear of the past rising up. Fear of the present taking flight. Fear of the telephone that rings in the dead of night. Fear of electrical storms. Fear of the cleaning woman who has a spot on her cheek! Fear of dogs I've been told won't bite. Fear of anxiety! Fear of having to identify the body of a dead friend. Fear of running out of money. Fear of having too much, though people will not believe this. Fear of psychological profiles. Fear of being late and fear of arriving before anyone else. Fear of my children's handwriting on envelopes. Fear they'll die before I do, and I'll feel guilty. Fear of having to live with my mother in her old age, and mine. Fear of confusion. Fear this day will end on an unhappy note. Fear of waking up to find you gone. Fear of not loving and fear of not loving enough. Fear that what I love will prove lethal to those I love. Fear of death. Fear of living too long. Fear of death. I've said that.

V.S. Pritchett's definition of a short story is 'something glimpsed from the corner of the eye, in passing.' Notice the 'glimpse' part of this. First the glimpse. Then the glimpse gives life, turned into something that illuminates the moment and may, if we're lucky -- that word again -- have even further ranging consequences and meaning. The short story writer's task is to invest the glimpse with all that is in his power. He'll bring his intelligence and literary skill to bear (his talent), his sense of proportion and sense of the fitness of things: of how things out there really are and how he sees those things -- like no one else sees them. And this is done through the use of clear and specific language, language used so as to bring to life the details that will light up the story for the reader. For the details to be concrete and convey meaning, the language must be accurate and precisely given. The words can be so precise they may even sound flat, but they can still carry; if used right they can hit all the notes.