Analysis of a Short Story
Analysis of a Short Story
Raymond Carver’s “What We Talk About When We Talk About Love” is one of several stories that appears simple on first glance, but it’s actually complex and unique in many ways. Carver, who lived from 1938 to 1988, was famous for many of his works, including this one (New York Times, 2013). According to Geoffrey Wolff, Carver created narratives that are "brief . . . but by no means stark" (Poetry Foundation, 2013). Though known as an influential writer of American short stories, Carver was an alcoholic, whose wife, Maryann, and two children eventually left him.
Carver’s central themes of love and communication are well executed, and the setting of the story serves to further accentuate those themes. The story’s set is completely in the Albuquerque apartment belonging to Mel and Terri. The other couple is Ed and Laura; and while they conversed, the gin and tonic kept going around. The narrative occurs one sunny afternoon at the end of summer. Carver narrows the setting even further by keeping all four characters seated around the kitchen table at all times — no one ever leaves.
This story explores the various ways communication is done when discussing love. Obviously, this is no big surprise. The interesting part, however, is not what many readers may expect. The protagonists in this narrative discuss car accidents, violence, bees and cheese with crackers. The over-riding theme of the story seems to be that love is more sinister and complex than some might assume. In the following passage, Terri implies that mania, suicidal leanings, beatings and aggression can be part of the meaning of love:
“I was in the room with him when he died, Terri said. He never came up out of it. But I sat with him. He didn't have anyone else.
He was dangerous, Mel said. If you call that love, you can have it.
It was love, Terri said. Sure, it's abnormal in most people's eyes. But, he was willing to die for it. He did die for it." (p. 34-36)
In a narrative filled with dialogue, not a great deal is explicitly said. There is a definite presence of kissing, touching, telling one another that they love each other; these are the methods with which the characters convey their love. However, for some reason, these methods appear insufficient as night arrives and they drink more gin. Defining love can be difficult for almost anyone, certainly the characters in this story. Mel and Terri have an exchange which is particularly uncomfortable. While the disagreement is relatively subtle, the undertone is much more serious:
"My God, don't be silly. That's not love and you know it, Mel said. "I don't know what you'd call it, but I sure know you wouldn't call it love."
Say what you want to but I know it was, Terri said. It may sound crazy to you, but it's true just the same. People are different, Mel." (p. 6-7)
"He used to call my service at all hours and say he needed to talk to the doctor, and when I'd return the call, he'd say 'Son of a bitch, your days are numbered.' Little things like that. It was scary. I'm telling you." (p. 27)
Mel, who’s a cardiac surgeon in his mid-forties, seems very different than Nick, Terri’s first husband, who was physically and verbally abusive towards her before this death. Mel and Terri are the talkative characters with Laura asking questions and chiming in often. However, Ed was the reserve one. Perhaps it’s because he narrated the story.
Interestingly, some reviewers defined the characters as “representing a different stage of love” (eNotes, para, 3). Mel and Terri were viewed as the older cynical pair, whereas Ed and Laura were seen as the younger couple in their early, idealistic stages of marriage.
The sunlight provides a clear symbol here in the story. Its steady departure echoes the manner in which comfort and happiness exits as tensions build between Mel and Terri. At the end, these four are sitting in the dark and make no attempt to switch on lights or depart from the table. The implication is that they have been changed by the conversation.
Although calm and serene, the apartment goes through small changes throughout the evening. At the start, "Sunlight filled the kitchen from the big window behind the sink." (p. 1) Later on, the light adopts an unusual element. In fact, it almost feels present as an extra person in the room: "The afternoon sunlight was like a presence in this room, the spacious light of ease and generosity." (p. ???) Gradually as tensions increase, the sunlight dwindles until at the conclusion, it fades away entirely. At this point, the characters remain in their seats, in silence, and Ed informs the reader that "the room went dark." (p.???)
Carver’s story is simple yet complex on the conversation about and definition of “genuine.” The most obvious themes are those of love and communication; but once again, even these are not depicted in the manner which some might expect. Based on the different scenarios shared, love is a perplexing term The story gives several conflicting definitions of love: spiritual, brutal, romantic, sensual, emotional, suicidal, speechless (loss for words), intellectual, mean, etc. Through brilliant characterization, setting and symbolism, Carver takes the reader through an important conversation in the lives of four people on the topic of love.
References
Broyard, Anatole. (1981). Books of The Times. Retrieved from http://www.nytimes.com/books/01/01/21/specials/carver-what.html
Carver, Raymond. What we Talk about when we Talk about Love. The New York Times (2013). Retrieved from http://topics.nytimes.com/topics/reference/timestopics/people/c/raymond_carver/index.html
eNotes. (2002). Short Story Critics. Gale Cengage Puclisher. Retrieved from
http://www.enotes.com/what-we-essays/what-we-talk-about-when-we-talk-about-love-raymond
The Poetry Foundation (2013). Raymond Carver. Retrieved from http://www.poetryfoundation.org/bio/raymond-carver
