Minimalism in Raymond Carver's Collectors

Front Cover
GRIN Verlag, 2007 - 52 pages
0 Reviews
Seminar paper from the year 2006 in the subject American Studies - Literature, grade: 1,7, http: //www.uni-jena.de/ (Institute for English/ Amererican Studies), course: Hauptseminar, 21 entries in the bibliography, language: English, comment: Extensive Analysis of blanks (Leerstellen) and their function in R. Carver's short story "Collectors" ., abstract: In the seemingly simple low-rent tragedy "Collectors," Carver's most minimalistic story, a salesman for vacuum cleaners enters the house and life of the I-narrator. A multitude of blanks and, moreover, unfamiliar events and actions contribute to a large extend to the high potential of anxiety of the story. In the following, I will first reveal the most significant blanks concerning the setting, the point of view and the two protagonists. By doing so, I will also attempt to fill them. Secondly, I will analyze what is unfamiliar in the story and how events and actions of the two characters amplify the, on the whole, uncanny situation. Finally, I will sum up the main findings of my analysis and evaluate them.
 

What people are saying - Write a review

We haven't found any reviews in the usual places.

Other editions - View all

Common terms and phrases

Popular passages

Page 6 - I'd lift up and look through the curtain for the mailman. There was no one on the street, nothing. I hadn't been down again five minutes when I heard someone walk onto the porch, wait, and then knock. I lay still. I knew it wasn't the mailman.
Page 2 - Wolfgang Iser: Die Appellstruktur der Texte. Unbestimmtheit als Wirkungsbedingung literarischer Prosa.
Page 11 - You'll be surprised to see what can collect in a mattress over the months, over the years. Every day, every night of our lives, we're leaving little bits of ourselves, flakes of this and that, behind. Where do they go, these bits and pieces of ourselves? Right through the sheets and into the mattress, that's where!
Page 16 - I'd make a poem; one line and then the next, and the next. Pretty soon I could see a story, and I knew it was my story, the one I'd been wanting to write. I like it when there is some feeling of threat or sense of menace in short stories. I think a little menace is fine to have in a story. For one thing, it's good for the circulation. There has to be tension, a sense that something is imminent, that certain things are in relentless motion, or else, most often, there simply won't be a story.
Page 9 - ... the collar over the doorknob. That's a good place for it, he said. Damn weather, anyway. He bent over and unfastened his galoshes. He set his case inside the room. He stepped out of the galoshes and into the room in a pair of slippers. I closed the door. He saw me staring at the slippers and said, WH Auden wore slippers all through China on his first visit there.
Page 9 - ... the end of the sofa. The machine rattled as if there were a marble inside, anyway something loose inside, then settled to a hum. Rilke lived in one castle after another, all of his adult life. Benefactors, he said loudly over the hum of the vacuum. He seldom rode in motorcars; he preferred trains. Then look at Voltaire at Cirey with Madame Chatelet. His death mask. Such serenity.
Page 2 - Bethea calls them in his book Technique and Sensibility in the Fiction and Poetry of Raymond Carver (New York; London: Routledge, 2002) on page 36 "indeterminate spots," which denote the same as Iser's "Leerstellen".

Bibliographic information