レイモンド・カーヴァーの小説作法 : What We Talk About When We Talk About Love まで
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概要
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レイモンド･カーヴァーが作家として著名になったのは, 編集者ゴードン･リッシュの多大な尽力があったからである｡リッシュはカーヴァ-の作品が行間に豊かな意味を含ませていることに着目し, 自分自身の創作法を重ねるかのように編集した｡その結果, 二冊の短編小説集 Will You Please Be Quiet, Please? とWhat We Talk About When We Talk About Love が出版され, カーヴァ-は一躍, ミニマリズムの代表的小説家として世間から目されることになった｡これら二つの作品集に共通する作風において際立ってユニークな点は, 省略の技法である｡優れた作家ならだれでも心がけている文体, つまり｢無駄のない文章｣にするために切り詰めた文体の他, ヘミングウェイの影響を受けたと思われる省略法, さらにそれを極端に推し進めた省略が使われている｡それらは混然として作品を構成し, カーヴァ-の魅力となっているとともに, 難解さを生むもととなっているものもある｡Raymond Carver has become well-known as a `minimalist' short story writer since his two collections of stories - Will You Please Be Quiet, Please? and With We Talk About When We Talk About Love - were published in 1976 and 1981 respectively. His stories in these collections have unusual characteristics in several respects, the most prominent among them being his techniques of omission. Besides the usual technique which any good writer uses when he or she writes stories `economically,' Carver omits key words or phrases which explain the reader clearly what the story is about. As he admits in one of his essay son writing, Carver learned this technique of omission from Ernest Hemingway. In addition to these, there is another type of omission which is far more drastic in deleting passages and sentences from his original manuscripts. However, this type of omission was not done by Carver himself but by his former editor Cordon Lish. Not only has he excised large portions of Carver's manuscripts, he wrote his own sentences in the manuscripts written by Raymond Carver. Whatever its evaluation could be, there is no denying that Lish's efforts contributed to Carver's gaining fame as a unique story-writer.
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