The Raymond Carver Review is a biennial peer-reviewed, electronic journal that publishes the best critical work both from established and emerging Carver scholars around the world. Each issue includes a section of peer-reviewed essays, sometimes on special topics, supplemented by interviews, guest editor’s essays, book reviews, and occasional special features.
Begun in conjunction with the International Raymond Carver Society, the RCR is produced by Carver scholars from devoted to promoting the study of this important and influential author. The editorial and advisory board members who contribute to making the RCR available are located in the US, Canada, Italy, Ireland, Austria, Israel, France, Switzerland, and Puerto Rico.
The Raymond Carver Review is edited by Robert Miltner, Associate Professor of English at Kent State University at Stark and by Vasiliki Fachard, Independent Scholar in Switzerland. The Raymond Carver Review is produced in cooperation with The International Raymond Carver Society and is hosted by the English Department at Kent State University.
Issue Four, an open topics issue, features four peer reviewed essays: Josef Benson’s “Ralph Whiteman as White Construction in ‘Will You Please Be Quiet, Please?’” explores issues of white hetero-masculinity and victimology; Katarina Polonsky considers how issues of masculinity and domestic space affect the central characters in “Neighbors” and “Collectors”; Joseph Kappes examines how an early Carver story, “Bicycles, Muscles, and Cigarets,” employs deferred narratives of knowledge and identity; and Molly Fuller compares Carver’s original and Gordon Lish’s edited versions of “Why Don’t You Dance?” to examine the effects following the disruption of the author’s “intention and narrative thrust.” RCR editor Robert Miltner offers reviews of recent publications in Carver studies: The Poetry of Raymond Carver: Against the Current by Sandra Lee Kleppe; The Visual Poetics of Raymond Carver by Ayala Amir; Critical Insights: Raymond Carver, edited by James Plath, Editor; Not Far From Here: The Paris Symposium on Raymond Carver edited by Vasiliki Fachard and Robert Miltner; and Carver Across the Curriculum: Interdisciplinary Approaches to Teaching the Fiction and Poetry of Raymond Carver edited by Paul Benedict Grant and Katherine Ashley.
Issue Three, the Miscellany Issue, opens with David Muldoon’s interview with Riccardo Duranti, Carver’s Italian translator. The three peer reviewed essays include Keith Abbott on social class and property issues in Carver’s “Why Don’t You Dance?”; John A. McDermott explores the influence of James Joyce’s ‘epiphany’ on Carver in “American Epicleti”; and Michael Hemmingson examines Carver’s forays into early solo playwriting and late playwriting with Tess Gallagher. Also included are two bilingual poems about Carver by Robert Gurney and Alessandro Martini.
Issue Two is a special issue on Carver and Feminism, guest edited by Claire Fabre-Clark and Libe García Zarranz. Included are an issue introduction by Claire Fabre-Clark; editors’ essays by Libe García Zarranz on Carver and Feminist Theory and Vasiliki Fachard on Feminism and Carver; essays on using space and domesticity to re-read Carver’s women by Aoileann Ní Éigeartaigh; influences of Feminism and class in Carver’s short stories by Vanessa Hall; masculinity as homosocial enactment by Josef Benson; a Feminist interpretation of “Cathedral” by Eve Wiederhold; and reviews of Maryann Burk Carver’s What It Used to Be Like by Julia Kaziewicz and of Tess Gallagher’s Dear Ghosts, by Jo Angela Edwins.
Issue One is an open topics issue which includes the use of poetics in “Vitamins” by Eileen Abrahams, Carver and the Temperance Tradition, by Angela Sorby; Carver’s use of photographic technique by Ayala Amir; a detailed study of Lish’s editing of Carver by Enrico Monti; Carver’s influence on Murakami by Brian Seemann; a review of Kerry McSweeney’s Realist Short Story of the Powerful Glimpse.
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