Issue One is an open topics issue which includes the use of poetics in “Vitamins” by Eileen Abrahams, Carver and the Temperance Tradition, by Angela Sorby; Carver’s use of photographic technique by Ayala Amir; a detailed study of Lish’s editing of Carver by Enrico Monti; Carver’s influence on Murakami by Brian Seemann; a review of Kerry McSweeney’s Realist Short Story of the Powerful Glimpse.
Issue Two is a special issue on Carver and Feminism, guest edited by Claire Fabre-Clark and Libe García Zarranz. Included are an issue introduction by Claire Fabre-Clark; editors’ essays by Libe García Zarranz on Carver and Feminist Theory and Vasiliki Fachard on Feminism and Carver; essays on using space and domesticity to re-read Carver’s women by Aoileann Ní Éigeartaigh; influences of Feminism and class in Carver’s short stories by Vanessa Hall; masculinity as homosocial enactment by Josef Benson; a Feminist interpretation of “Cathedral” by Eve Wiederhold; and reviews of Maryann Burk Carver’s What It Used to Be Like by Julia Kaziewicz and of Tess Gallagher’s Dear Ghosts, by Jo Angela Edwins.
Issue Three, the miscellany issue, opens with David Muldoon’s interview with Riccardo Duranti, Carver’s Italian translator. The three peer reviewed essays include Keith Abbott on social class and property issues in Carver’s “Why Don’t You Dance?”; John A. McDermott explores the influence of James Joyce’s ‘epiphany’ on Carver in “American Epicleti”; and Michael Hemmingson examines Carver’s forays into early solo playwriting and late playwriting with Tess Gallagher. Also included are two bilingual poems about Carver by Robert Gurney and Alessandro Martini.
Issue Four, an open topics issue, features four peer reviewed essays: Josef Benson’s “Ralph Whiteman as White Construction in ‘Will You Please Be Quiet, Please?’” explores issues of white hetero-masculinity and victimology; Katarina Polonsky considers how issues of masculinity and domestic space affect the central characters in “Neighbors” and “Collectors”; Joseph Kappes examines how an early Carver story, “Bicycles, Muscles, and Cigarets,” employs deferred narratives of knowledge and identity; and Molly Fuller compares Carver’s original and Gordon Lish’s edited versions of “Why Don’t You Dance?” to examine the effects following the disruption of the author’s “intention and narrative thrust.” RCR editor Robert Miltner offers reviews of recent publications in Carver studies: The Poetry of Raymond Carver: Against the Current by Sandra Lee Kleppe; The Visual Poetics of Raymond Carver by Ayala Amir; Critical Insights: Raymond Carver, edited by James Plath, Editor; Not Far From Here: The Paris Symposium on Raymond Carver edited by Vasiliki Fachard and Robert Miltner; and Carver Across the Curriculum: Interdisciplinary Approaches to Teaching the Fiction and Poetry of Raymond Carver edited by Paul Benedict Grant and Katherine Ashley.
Issue 5/6, Special Feature on James Carver, presents an excerpt from Raymond Carver Remembered by His Brother James. This memoir by Raymond Carver’s younger brother and only sibling offers significant details and vignettes of Raymond Carver’s childhood and early adult life; the memoir is accompanying by a review essay, “Raymond Carver and Biography,” from Sandra Lee Kleppe, Director of the International Raymond Carver Society. Issue 5/6 includes five peer-reviewed essays: Taylor Johnston’s “‘Inside anything’: The Evacuation of Commodified Space in Raymond Carver’s ‘Cathedral’” examines how the decomodified experience of co-drawing a cathedral “relocates the act of reading from the entrapments of the consumer apparatus to symbolic indeterminacy”; Madeleine Stein’s “Keeping Our Eyes Closed: Unsustainable Transformation in Raymond Carver’s ‘Cathedral,’” uses lenses of narrative distance and gender relations to analyze the metaphorically blind narrator’s transformative interaction; In “‘Kill who?’: Forgiving the Immigrants in Raymond Carver’s ‘Sixty Acres,’” Ann Olson reviews the conflict between Yakama tribesman Lee Waite and trespassing white duck-hunters as a re-enactment of historical complexities; Cameron Cushing’s “The Negative Pastoral in Raymond Carver’s “The Compartment” locates Myers’ decision not to meet with his estranged son in Strasbourg in an interstitial space between Terry Gifford’s concept of an external “contextual pastoral” and Martin Scofield’s concept of an internal “negative pastoral”; and Jonathan Pountney’s “Raymond Carver and Haruki Murakami: Literary Influence in Late-Capitalism” considers how Murakami’s acceptance of Carver’s influence rests in a corresponding desire to depict a societal dislocation tied to the mass-commodification of the late-twentieth century labor markets in America and Japan.