Books about Carvers from Amazon.com

Henslin's best-selling brief paperback shares the excitement of sociology with the acclaimed "down-to-earth" approach and personal writing style, which highlights the sociology of everyday life. With wit, personal reflection, and illuminating examples, Henslin is able to share his passion for sociology with his readers like no other author. This book, written in a "down-to-earth" accessible writing style, incorporates a dual emphases on micro and macro (individual and structural) sociology. For people wanting an introduction to the field of sociology..
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"What We Talk About When We Talk About Love" is not only the most well-known short story title of the latter part of the 20th century; it has come to stand for an entire aesthetic, the bare-bones prose style for which Raymond Carver became famous. Perhaps, it could be argued, too famous, at least for his fiction's own good. Like those of Hemingway or any other writer similarly loved, imitated, parodied, and reviled, these stories can sometimes produce the sense of reading pastiche. "A man without hands came to the door to sell me a photograph of my house." "That morning she pours Teacher's over my belly and licks it off. That afternoon she tries to jump out the window." "My friend Mel McGinnis was talking. Mel is a cardiologist, and sometimes that gives him the right." What other writer ever produced first sentences like these? They are like doors into Carverworld, where everyone speaks in simple declarative phrases, no one ever stops at one beer, and failure or violence are the true outcomes of the American dream.

Yet these stories bear careful re-reading, like any truly important and enduring work. For one thing, Carver is one of the few writers who can make desperation--cutting your ex-wife's telephone cord in the middle of a conversation, standing on your own roof chunking rocks while a man with no hands takes your picture--deeply funny. Then there is the sheer craft that went into their creation. Despite their seeming simplicity, his tales are as artfully constructed as poems--and like poems, the best of them can make your breath catch in your throat. In the title piece, for instance, after the gin has been drunk, after the stories have been told, after the tensions in the room have come to the surface and subsided again, there comes a moment of strange lightness and peace: "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."

Much of what happens in What We Talk About When We Talk About Love (1981) happens offstage, and we're left with tragedy's props: booze, instant coffee, furniture from a failed marriage, cigarettes smoked in the middle of the night. This is not merely a matter of technique. Carver leaves out a great deal, but that's only a measure of his characters' vulnerability, the nerve endings his stories lay bare. To say anything more, one feels, would simply hurt too much. --Mary Park.
Price: $6.75 [Notify me when price goes down.]

B> The book reflects the authors' beliefs that clearly presented concepts and solid research are the foundations of the study of personality. The various perspectives are the organizing framework of the book: each perspective on personality is presented in two chapters and is introduced by a prologue that describes the assumptions and themes of the perspective. Carver and Scheier build a solid foundation in the three introductory chapters, introduce the seven perspectives (in seven parts), before neatly and creatively wrapping things up with Chapter 18: Personality in Perspective, which also introduces the concept of blending various theories. An exciting feature of this edition is a special box in each chapter called "The Theorist and the Theory" which discusses the role that the personal lives of the theorists may have had on the development of their theories. For anyone interested in the psychology of personality..
Price: $98.13 [Notify me when price goes down.]

It was morning in America when Raymond Carver's Cathedral came out in 1983, but the characters in this dry collection of short stories from the forgotten corners of land of opportunity didn't receive much sunlight. Nothing much happens to the subjects of Carver's fiction, which is precisely why they are so harrowing: nothingness is a daunting presence to overcome. And rarely do they prevail, but the loneliness and quiet struggle the characters endure provide fertile ground for literary triumph, particularly in the hands of Carver, who was perhaps in his best form with this effort..
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In this revised and updated third edition, Carver continues to debunk the entrenched beliefs and habits that hobble boards and to replace them with his innovative approach to effective governance. This proven model offers an empowering and fundamental redesign of the board role and emphasizes values, vision, empowerment of both the board and staff, and strategic ability to lead leaders. Policy Governance gives board members and staff a new approach to board job design, board-staff relationships, the role of the chief executive, performance monitoring, and virtually every aspect of the board-management relationship.  This latest edition has been updated and expanded to include explanatory diagrams that have been used by thousands of Carver’s seminar participants. It also contains illustrative examples of Policy Governance model policies that have been created by real-world organizations. In addition, this third edition of Boards That Make a Difference includes a new chapter on model criticisms and the challenges of governance research..
Price: $26.33 [Notify me when price goes down.]

Picture the poor, young, serious-fiction writer. He toils alone at a pace not so different from that of Lincoln Tunnel traffic at rush hour in New York. His spouse has a "real" job, or perhaps he has a trust fund. His college friends are cashing in on their dot-coms and wondering if he's ever going to join the real world. He is not hell-bent on publication; he is trying to write "serious, honest fiction, the kind of novel that readers will find they enjoy reading more than once, the kind of fiction likely to survive." He's likely to have no idea whether he's succeeding. Nobody understands him.

Well, almost nobody. John Gardner understands him. Gardner's sympathetic On Becoming a Novelist is the novelist's ultimate comfort food--better than macaroni and cheese, better than chocolate. Gardner, a fiction writer himself (Grendel), knows in his bones the desperate questioning of a writer who's not sure he's up to the task. He recognizes the validation that comes with being published, just as he believes that "for a true novel there is generally no substitute for slow, slow baking." Gardner also has strong feelings about what kinds of workshops help (and whom they help), and what kinds hinder. But a full half of Gardner's book is devoted to an exploration of the writer's nature. The storyteller's intelligence, he says, "is composed of several qualities, most of which, in normal people, are signs of either immaturity or incivility." In addition, a writer needs "verbal sensitivity, accuracy of eye," and "an almost demonic compulsiveness." But wait--there's more. A writer needs to be driven, and to be driven, he says insightfully, "a psychological wound is helpful." --Jane Steinberg.
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