© 2016 by Brian Keeble The last ten years of Carver’s life were the settled, sane ones. He had finally quit drinking and, with the help and under the tutelage of his second wife, the writer Tess Gallagher, had begun to enjoy his growing fame. These were his “gravy” years, as he put it. He was like the veteran of a long and costly war, looking back on the casualties and routine horrors of a time gone by. And it was during this period that he wrote some of his most effective poems. It was a time when he was beginning to be able to, as he puts it in a little poem called “The Young Girls,” “forget all experiences involving wincing.” In an introduction to A New Path to the Waterfall, Gallagher writes, “There was an urge in Ray’s writing, in both the poems and stories, to revisit certain evocative scenes and characters in his life, to wrest from them if not release, at least a telling anatomy of the occasion.” And that seems like a fairly accurate statement about much of the content of Carver’s poems and stories. The crucial fact of the matter, though, is that it helps an awful lot to have something distinctively your own to recall, something that hasn’t been run into the ground by repetition from dozens and dozens of others. And that, Raymond Carver—lucky, in a sense, to have been so unlucky—seems to have had in abundance.

中文翻译：

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谁在尘土中说话？：凯瑟琳·雷恩和诗歌的职业

© 2016 by Brian Keeble Carver 生命的最后十年是安定的、理智的。他终于戒酒了，在他的第二任妻子、作家苔丝·加拉格尔 (Tess Gallagher) 的帮助和监护下，他的名气越来越大。正如他所说，这是他的“肉汁”岁月。他就像经历了一场漫长而代价高昂的战争的老兵，回顾过去的伤亡和例行的恐怖。正是在这一时期，他写了一些最有效的诗歌。那个时候他开始能够，正如他在一首名为“年轻女孩”的小诗中所说的那样，“忘记所有涉及畏缩的经历。” 在《通往瀑布的新道路》的介绍中，加拉格尔写道：“雷的写作，无论是在诗歌还是故事中，都有一种重温他生活中某些令人回味的场景和人物的冲动，如果不释放就从他们手中夺走，至少是对这个场合的一个有说服力的解剖。” 对于卡佛的诗歌和故事的大部分内容，这似乎是一个相当准确的陈述。然而，问题的关键事实是，拥有自己独特的东西来回忆是非常有帮助的，一些东西还没有被几十个其他人的重复所困扰。而这一点，雷蒙德·卡佛——从某种意义上说，幸运的是，如此倒霉——似乎有很多。一些还没有被几十个其他人重复使用的东西。而这一点，雷蒙德·卡佛——从某种意义上说，幸运的是，如此倒霉——似乎有很多。一些还没有被几十个其他人重复使用的东西。而这一点，雷蒙德·卡佛——从某种意义上说，幸运的是，如此倒霉——似乎有很多。