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Textual Practice: 'To Be There, Inside, and Not Be There': Raymond Carver and Class
Textual Practice: 'To Be There, Inside, and Not Be There': Raymond Carver and Class
Textual Practice
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'To be there, inside, and not be there': Raymond Carver
and class
Ben Harker a
a
University of Salford,
Ben Harker
‘To be there, inside, and not be there’: Raymond Carver
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and class
Textual Practice ISSN 0950-236X print/ISSN 1470-1308 online # 2007 Taylor & Francis
http://www.tandf.co.uk/journals
DOI: 10.1080/09502360701642409
Textual Practice
about the lower-middle class rather than the working class. Immediately
wary of Alton’s line of questioning, Carver first responded with a bluff
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Ben Harker ‘To be there, inside, and not be there’
over General Motors, the pro-Trade Union Wagner Labor Relations Act,
and the high point of the Communist Party, the organization which for
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Georg Lukács was destined to mediate between social reality and political
consciousness and enable the working class ‘to become fully aware of its
existence as a class’.8 In short it was a moment when, as Michael
Denning points out, working people found representation in a double
sense of the word: political and industrial representation and represen-
tation in cultural forms.9 Carver continues:
My dad was still working on the dam, and later, with the huge tur-
bines producing electricity and the water backed up for a hundred
miles into Canada, he stood in the crowd and heard Franklin
D. Roosevelt when he spoke at the construction site. ‘He never men-
tioned those guys who died building that dam’, my dad said. Some
of his friends had died there, men from Arkansas, Oklahoma, and
Missouri (F, 14).
In this passage, Raymond Carver junior has his father quietly giving
voice to, or being given voice by, the class-consciousness of that
moment. Class, as E. P. Thompson noted, is something that happens
and it is happening here just as it happens in the 26 songs that dust
bowl balladeer Woody Guthrie wrote during his commissioned 3-week
residency on the dam construction project.10 Like the sharply class-
conscious songs of Guthrie, here Carver, on behalf of Raymond Carver
senior, measures the scale of the engineering feat undertaken (‘huge tur-
bines’, ‘hundred miles’); Carver’s father’s words then register the difference
between the official history (public oratory) and the unrecorded exploita-
tion and suffering: ‘he never mentioned the guys who died building that
dam’. (Guthrie’s songs do mention them: ‘men have fought the pounding
waters, and met a watery grave’.)11
Whether Carver junior is faithfully transcribing his father’s words or
making up dialogue is beside the point: Raymond Carver senior is being
simultaneously presented in terms of objective social relations – as a
working man – and in terms of his experience of that position. ‘Social
class’ writes Fredric Jameson, ‘is not merely a structural fact but also
very significantly a function of class consciousness, and the latter,
indeed, ends up producing the former just as surely as it is produced by
it’.12 ‘And class happens’, writes E P. Thompson:
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For years my wife and I had held to a belief that if we worked hard
and tried to do the right things, the right things would happen. It’s
not such a bad thing to try to build a life on. Hard work, goals, good
intentions, loyalty, we believed these were virtues and would some
day be rewarded. . . .
The time came and went when everything my wife and I held sacred,
or considered worthy of respect, every spiritual value, crumbled away.
Something terrible had happened to us. It was something that we had
never seen occur in any other family. We couldn’t fully comprehend
what had happened. . . . We simply could not have anticipated
anything like what was happening to us (F, pp. 33–34).
Like the working class Davis describes, Carver and his wife are rep-
resented here as ‘integrated into American capitalism’. They invested in
the hegemonic narratives of contemporary consumer society – working
hard, loyalty, trying to advance themselves through education, doing the
right things. But the socio-economic world inflicted experiences – bank-
ruptcy, unemployment, and working hard and getting nowhere – about
which those hegemonic narratives had little or nothing to say. What
Carver is describing here in autobiographical terms is common in his
early fiction. As he once put it, ‘Essentially, I am one of those confused,
befuddled people’.22
In 1968, aged 30, Carver secured his first white-collar job as a textbook
editor in Palo Alto. It was here he met Gordon Lish, who went on to become
fiction editor of Esquire. In his new post, Lish encouraged Carver to submit
some stories. According to this re-telling – there would be a number over the
years – Carver sent in four or five before striking lucky:23
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Ben Harker ‘To be there, inside, and not be there’
(1976). Lish became Carver’s editor and made a significant, and now con-
troversial contribution, helping to shape the remorselessly pared-down aes-
thetic for which Carver became renowned. (A forceful and sometimes
overbearing editorial presence in Carver’s first two books, Lish took a
lesser role in the third).24 ‘Neighbors’ also marked Carver’s passage from
small literary journals into a lucrative mass readership: as Carver empha-
sizes, this alleviated financial burdens – the stories were not only accepted
and published, they were ‘purchased’ and ‘bought’. The same year, Carver
secured a foothold in the rapidly expanding structure of American aca-
demic creative writing programmes, taking up a post at the University
of Santa Cruz. His writing and reputation had become a marketable com-
modity and it is appropriate that ‘Neighbors’, the five-page story that
launched his career as professional writer and university lecturer, deals
with questions of class and social mobility. The first paragraph runs:
Bill and Arlene Miller were a happy couple. But now and then they
felt they alone among their circle had been passed somehow, leaving
Bill to attend to his bookkeeping duties and Arlene occupied with
secretarial chores. They talked about it sometimes, mostly in com-
parison with the lives of their neighbours, Harriet and Jim Stone.
It seemed to the Millers that the Stones lived a fuller and brighter
life. The Stones were always going out to dinner, or entertaining
at home, or travelling about the country somewhere in connection
with Jim’s work (SRC, p. 17).
The stuttering prose of the second sentence, with its ungainly syntax
and long string of monosyllables, enacts the difficulty of constructing a
coherent story from intractable and confusing social material. The
Millers have done the right things, but the right things have not happened
for them. They feel this, but do not understand it and have no language or
narrative through which to articulate or explain it. While others have
moved up through work, the Millers are simply left doing it. Jim Stone
has made it onto the threshold of the professional-managerial class with
his career as a salesman; Bill Miller is a bookkeeper, an occupation under-
going a period of de-skilling and mechanization at the time when the story
was written.25 Jim Stone has a profession; Bill Miller has ‘duties’; Arlene
has only ‘chores’.
Although critics have tended to discuss this tale of house-sitting in
terms of voyeurism – and this is indeed a text about the otherness of
other people – Carver makes it explicit that questions of social hierarchy
play an important role in the Millers’ responses to the Stones’ apartment.26
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Bill Miller searches the apartment, moving ‘slowly through each room con-
sidering everything that fell under his gaze, carefully, one object at a time’
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Ben Harker ‘To be there, inside, and not be there’
of the story is that the Millers and Stones are so similar. They live in the
same apartment block and move in the same circles. At the same time,
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the story explores the reason why this small social difference is experienced
as being so vast. It appears vast because it is inexplicable: it is a slight differ-
ence, but as real and insurmountable as a glass ceiling. The Millers have
done the right things, but the right things have not happened. The
couple have no way to comprehend or talk about this, but nonetheless
begin to imagine making the right things happen – becoming the
Stones – by doing the wrong things – somehow expropriating their apart-
ment. This is an unusual moment in Carver’s fiction. The Millers’ mischief
in the Stones’ apartment begins to edge towards something more con-
scious. Rather than resourcefully coping with the way things are, the
Millers tentatively begin to imagine a structural reversal. It is a moment
of hesitant redistributive thought in which the vagueness of their plans
reflects the fact that they are pushing against the weight of the stories
through which they live their lives, in an attempt to hook onto other
stories, other mediations. Utopian thinking, the text implies, is like a
half-remembered dream – a depleted discourse only possible when the
imagined reversals are very slight. At the exact moment when the Millers
begin to imagine the social cleavage being overcome, in other words,
just as class begins to happen, they are punished by the story’s plot. The
logic of the story reflects the rules of society and functions as a punitive
superego. Utopian thought is slapped down by the reality principle and
the Millers are locked out of the flat. They are alert to the symbolism of
the everyday. The portentous ending suggests that they are braced to
suffer more than social embarrassment. Dissatisfied with their lot and
unable to attain any other, they are marooned in the corridor, suspended
in limbo between their apartment and the one they have dreamed of. Their
physical position reflects their social location. They realize that their desires
can neither be satisfied by doing the right things nor by not doing them.
Opaque and dense, Carver’s text allegorizes the difficulty of developing
and sustaining oppositional consciousness in the current climate.
Utopian thought exists as a trace. The text both creates a space for its
expression and, by punishing it, enacts Carver’s political pessimism.
There is apparently no outlet for utopian impulses here beyond the consu-
merist modes sanctioned by hegemonic discourses.
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invest in the dominant stories and are compliantly sorry for their economic
inactivity). By italicizing ‘sorry’, and refusing to describe the lower socio-
economic group as ‘worse’ (rather than ‘worse off ’), the speaker declines
to repeat the dominant logic. ‘The years go by and everything and everyone
gets replaced’ then catches a glimpse of determining economic and political
structures behind the familiar social world: workers, like the cars they
produce in order to live (and consume in order to keep the economy
buoyant/describe their status), have to be reproduced if the system is to
be maintained. Fordist systems of production and consumption are
subtly invoked by the text’s association of cars, shifts, work, consumption,
people and objects being replaced.42 Written at a moment of
de-industrialization, when the Fordist post-war settlement was buckling
beneath economic and political pressure, the poem sets off a series of
puns around the meaning of ‘shiftless’: the speaker always had ambitions
to be shiftless, or without ambition; he always had ambitions to be
without a shift, without shiftwork (perhaps like a writer); shift workers
are currently being replaced, becoming shiftless, due to plant closures,
imports and automation.43 The puns on ‘shiftless’ establish an uneasy alli-
ance between those now without shifts and the poem’s perpetually shiftless
speaker: always reluctant to be part of this pattern of mechanized social
reproduction, he preferred the idea of ‘sitting in a chair’ and ‘[m]aking
things out of wood with a knife’ – a type of anachronistic craftsmanship
seemingly outside or pre-dating the alienating processes whereby things
and people are reproduced (‘the professional managerial workers exist’,
write B. and J. Ehrenreich, ‘only by virtue of the expropriation of the
skills and culture once indigenous to the working class’).44 The poem
jokily makes the case for preferring artisan-like, pre-Fordist, shiftless crea-
tive work (making things out of bits of wood). It also shies from the
implied political analysis (Fordism as mechanised expropriation of
working-class skills). Instead the poem situates shiftless creativity – such
as Carver’s writing of the poem – squarely outside the circle of real econ-
omic activity (shiftless wood-whittling/writing is not presented as an
alternative career plan). Nor is whittling/writing presented as oppositional,
insubordinate or politicized – even in the sense of a purposefully shiftless
refusal to obey dominant ideologies, rules and expectations. Removed from
the economic sphere and the practice of constructing social meaning,
writing is an innocently autonomous and idiosyncratic pastime: ‘Where’s
the harm there?’
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Ben Harker ‘To be there, inside, and not be there’
once more forthcoming and contradictory about writing, class, politics and
the relationship between them, and repeatedly worried away at these issues
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in essays, poems and interviews. It was in the period of his celebrity and
social mobility that he consistently emphasized his background, particu-
larly his father’ class profile. He also conceptualized and described his
own literary work in a variety of ways: in the section of ‘Fires’ (1982)
quoted previously, he directly addressed the economics of success –
‘Neighbors’ was ‘purchased’ by Esquire (F, p. 39); elsewhere in ‘Fires’, as
in ‘Shiftless’ and other 1980s retrospective accounts of his emergence as
a writer, financial questions are suppressed and writing is instead presented
as an activity serenely remote from the workaday world.45 Unlike his day
and night jobs, but like making things out of wood, writing was a ‘craft’,
and Carver’s commitment to both performing and describing the material
work of writing – drafting, editing, revising, polishing – was a recurrent
theme in the 1980s (F, p. 45).46 ‘I respect that kind of care for what is
being done’ he explained in ‘On Writing’ (1981):
That’s all we have, finally, the words, and they had better be the right
ones, with the punctuation in the right places so that they can best
say what they are meant to say . . . if the writing can’t be made as
good as it is within us to make it, then why do it? In the end, the
satisfaction of having done our best, and the proof of that labour,
is the one thing we can take into the grave (F, pp. 24 – 25).
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views Carver asserts that he’s still on the side of the submerged population,
and that his credentials to speak on behalf of that population are in order:
‘The things that have made an indelible impression’ he said in one inter-
view, ‘are the things I saw in lives I witnessed being lived around me,
and in the life I myself lived’ (CRC, p. 112); situating himself in the tra-
dition of Chekhov, he describes writing about ‘a submerged population’
and giving ‘voice to people . . . not so articulate’ (CRC, p. 112). At the
same time, there’s a reluctance to be identified as a partisan, political
writer, even when that submerged population are being replaced and
becoming shiftless during the era of Reaganomics and the breakdown of
the post-war consensus. ‘I write oftentimes about working-class people,
and the dark side of Reagan’s America. So in that regard I suppose the
stories can be read as a criticism, as an indictment’ he said on one occasion,
before qualifying the remark: ‘But that has to come from the outside.
I don’t feel I’m consciously trying to do that’ (CRC, p. 201). A felt but
hesitant class affiliation is in conflict with a desire is to emphasize a
thorough and overriding professional affiliation to the ‘writer’s values
and craft’ (F, p. 46): technical expertise, social detachment, not allowing
words to become ‘heavy with the writer’s unbridled emotions’
(F, p. 25). On the one hand this is a familiar discourse of what Antonio
Gramsci called the ‘traditional’ intellectual – a group existing in the inter-
stices of society and experiencing itself as ‘autonomous and independent of
the dominant social group’ ‘endowed with a character of their own’
seemingly apart from social life.48 At the same time, it’s a discourse of
professional impartiality fundamental to the PMC to which Carver
actually, and inevitably, now belonged.49
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Ben Harker ‘To be there, inside, and not be there’
offered by the new perspective of being in two places at once, ‘To be there,
inside, and not be there’, of looking in and imagining himself at the desk
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looking out. Carver then visualizes himself at his desk, ‘Thinking about
some other place / and some other time’, and mining the past for material,
writing about the former life he no longer leads. But being temporarily
locked out of the comfortable professional writer’s life suddenly brings
the other world dangerously close to home. From imagining himself
sitting at his writing desk and thinking about that other life, that other
life looms up before him: what if he can’t get back in? The poem then
records a jolting, visceral response to the old life: ‘a wave of grief passed
through me’, ‘I felt violently ashamed / of the injury I’d done back
then’. It’s at this point that he enacts violence on the new home. Rather
than remaining suspended outside the threshold of the PMC – like the
Millers in ‘Neighbors’ – he breaks and re-enters: ‘I bashed that beautiful
window. / And stepped back in’. And rather than re-visiting and
writing-up the old life, as in ‘Shiftless’, this poem – written when he’s
safely reinstalled at his desk – scrutinizes some of the complexities and
contradictions involved in that process. An allegory of social mobility
and class guilt, Carver presents the material comfort of the writer’s
life – consumer goods and a room in which to work – as an occasion
to reflect on former ‘dis-ease’, and a sanctuary from it.
University of Salford
Notes
1 See Stephen Berg (ed.), In Praise of What Persists (New York: Harper and Row,
1983), pp. 33 –44. Carver explains how ‘Fires’ came to be written in his essay
‘On Rewriting’, first published in Fires: Essays, Poems, Stories, 1st edn (Santa
Barbara, California: Capra Press, 1983), pp. 187–189, and reprinted in
William L. Stull (ed.), Call If You Need Me: The Uncollected Fiction and
Prose (London: Harvill, 2000), pp. 181–185. ‘Fires’ was first published in
Antaeus [New York], no. 47 (Autumn 1982), pp. 156–167 and then in a
slightly different form in Syracuse Scholar [Syracuse University] 3, no. 2 (Fall
1982), pp. 6–14.
2 Raymond Carver, ‘Fires’, in Fires: Essays, Poems, Stories (1985; London:
Picador, 1986), p. 33. Further references are to this edition and will be cited
parenthetically as F.
3 Tess Gallagher, foreword to Raymond Carver, Call If You Need Me: The Uncol-
lected Fiction and Prose, ed. William L. Stull (London: Harvill, 2000), p. xiv.
4 Twenty-five Carver interviews are anthologized in Marshall Bruce Gentry and
William L. Stull (eds), Conversations with Raymond Carver ( Jackson and
London: University Press of Mississippi, 1990). In compiling the book, the
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editors drew upon the 50 or so interviews Carver gave between 1977 and 1988;
Carver seems to have given no interviews between 1977 and 1979, the period
in which he finally overcame his longstanding alcoholism.
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Ben Harker ‘To be there, inside, and not be there’
11 These lyrics are from Guthrie’s ‘Grand Coulee Dam’, quoted in Cray,
Ramblin’ Man, p. 212. For analysis of Guthrie’s class conscious lyrics, see
Bryan K. Garman, A Race of Singers: Whitman’s Working Class Hero from
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23 See also Michael Schumacher, ‘After the Fire, into the Fire: An Interview with
Raymond Carver’, in Conversations with Raymond Carver, ed. Gentry and
Stull, pp. 234–235.
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24 For the controversy over Lish’s editorial role, see D. T. Max, ‘The Carver
Chronicles’, New York Times Magazine, 9 August, 1998, p. 34. For a balanced
overview, see Arthur F. Bethea, Technique and Sensibility in the Fiction and
Poetry of Raymond Carver (New York and London: Routledge, 2001).
25 For the ‘mechanization of bookkeeping’ see Aronowitz, False Promises, pp.
293–295; for the social mobility of those working in sales, see p. 307. For
the significance of the professional-managerial class in post-1945 US class
relations, see Nick Heffernan, Capital, Class and Technology in Contemporary
American Culture (London: Pluto, 2000), pp. 29 –36.
26 See David Boxer and Cassandra Phillips, ‘Will You Please Be Quiet, Please?:
Voyeurism, Dissociation, and the Art of Raymond Carver’, Iowa Review,
10.3 (summer 1979), pp. 75 –90, and Kirk Nesset, The Stories of Raymond
Carver (Athens: Ohio University Press, 1995), pp. 11 –14.
27 The collections are Will You Please Be Quiet, Please (1976), What We Talk
About When We Talk About Love (1981) and Cathedral (1983). These three
books are collected in The Stories of Raymond Carver (London: Picador,
1985). References are to this edition and will be cited parenthetically as SRC.
28 John Alton, ‘What We Talk About When We Talk About Literature: An Inter-
view with Raymond Carver’, Chicago Review, 36 (Autumn 1988), pp. 4–21;
reprint, Conversations with Raymond Carver, ed. Gentry and Stull, p. 157.
Further references to this interview will be cited parenthetically as CRC.
29 Raymond Williams, Marxism and Literature (New York and Oxford: Oxford
University Press, 1977), p. 132.
30 Williams, Marxism and Literature, p. 134.
31 Raymond Williams, The Long Revolution (1961: London: Hogarth, 1992),
p. 49.
32 David Kaufmann, ‘Yuppie Postmodernism’, Arizona Quarterly, 47.2 (summer
1991): pp. 93– 116 (p. 99).
33 Kaufmann, ‘Yuppie Postmodernism’, p. 99.
34 For a critical take on Carver’s lack of historical perspective, see Frank Lentric-
chia, introduction to Lentricchia (ed.), New Essays on White Noise (Cambridge
and New York: Cambridge University Press, 1991).
35 Carver later changed the title of this story to ‘Are These Actual Miles’.
36 See Appendix 6, ‘Chronology’ in Raymond Carver, All of Us: The Collected
Poems, pp. 371–375.
37 This trend is mapped by William Stull in ‘Beyond Hopelessville: Another Side
of Raymond Carver’, Philological Quarterly, 64 (1985), pp. 1–15.
38 There are inevitably significant exceptions to this trend. ‘Preservation’ from
Cathedral is a relatively late story that exceeds even the early work in exploring
how the loss of narrative converts the domestic sphere from the stuff of ready-
made realism into a site of shock and dislocation. Furthermore, the degree of
Gordon Lish’s editorial input into the early work has only recently come to
light, and paradoxically, the early stories most frequently recognized as
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Ben Harker ‘To be there, inside, and not be there’
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and Wishart, 1971), pp. 3 –23. In a significant article, Bill Mullen argues
that whether he intended it or not, Carver does actually represent a late flower-
ing of ‘social realism in the tradition of working-class or proletarian writing’.
Carver, Mullen claims, is different from his forebears in that he leaves out ‘the
overt didacticism and attendant sentimentality of earlier proletarian realism’;
Carver’s pared down objectivity, for Mullen, ‘may be read as a satiric
comment on the voyeuristic restraint with which contemporary American
society – including its own diminishing traditional working class ranks –
has observed the diminution of its human resources’ (pp. 101, 102). Bill
Mullen, ‘A Subtle Spectacle: Televisual Culture in the Short Stories of
Raymond Carver’, Critique, 39.2 (Winter 1998), pp. 99 –114.
50 Raymond Carver, ‘Locking Yourself Out, Then Trying To Get Back In’,
Pequod, 18 (1985), pp. 48 –49, reprinted in Raymond Carver, All Of Us:
The Collected Poems (1996; New York: Vintage, 2000), pp. 73 –74.
736