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Passage Twelve
Raymond Carver
1938-1988
Carver is famous for his minimalist(最小的) style of prose, which he often described as stripped down to not just the bone but the marrow (骨髓). His characters are also typically pessimistic and unhappy. But in the context of Carver’s life’s works, “Cathedral” marks a turn toward a fuller prose style and more congenial (适宜的) (if not entirely happy) characters. Carver himself recognized that “Cathedral” is “more generous and maybe more affirmative” than the “smallness of vision and execution” of his previous work. In one interview he commented on the building of cathedrals to emphasize the collaborative and anonymous character of art.
Cathedral (《大教堂》)
This blind man, an old friend of my wife’s, he was on his way to spend the night. His wife had died. So he was visiting the dead wife’s relatives in Connecticut. He called my wife from his in-laws’. Arrangements were made. He would come by train, a five-hour trip, and my wife would meet him at the station. She hadn’t seen him since she worked for him one summer in Seattle ten years ago. But she and the blind man had kept in touch. They made tapes and mailed them back and forth. I wasn’t enthusiastic about his visit. He was no one I knew. And his being blind bothered me. My idea of blindness came from the movies. In the movies, the blind moved slowly and never laughed. Sometimes they were led by seeing-eye dogs. A blind man in my house was not something I looked forward to.
(I wasn’t enthusiastic about his visit. He was no one I knew. Why? )
That summer in Seattle she had needed a job. She didn’t have any money. The man she was going to marry at the end of the summer was in officers’ training school. He didn’t have any money, either. But she was in love with the guy, and he was in love with her, etc. She’d seen something in the paper: HELP WANTED—Reading to Blind Man, and a telephone number. She phoned and went over, was hired on the spot. She’d work with this blind man all summe
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