Raymond Carver, poet, essayist, and short story writer, was very different from some other writer

s in that he clipped his writing until only the essential remained. ' Carver not only acknowledged the effect that fiction could have on readers, he proclaimed that it should affect readers.'( Bonet ti 58) Thus, when Carver writes about intimate relationships, the reader perceives the stories as m ore than entertainment or skillful language; the reader relates to the characters' situations and ap plies the knowledge to their own lives. It is within this realm of character affirmation that Carv er draws a much more elaborate, and meaningful detail in his short stories. I propose that Carver's characters either connect or fail to connect on an intimate, spiritual level. It is this differenc e in his short stories which either draw the reader into or away from the meaning. These relations m ake certain writings in Carver's stories more interesting. More directly, it is the communion in his later writings, and the disjunction in his earlier writings, that distinguish the two types of styl es. Communion within the characters of Carver's later writings, as in his collections in Cathedral, create much more depth and interest in his stories. It is within this scope of communion that Carve r's stories seem to become more fulfilling with character affirmation. Communion occurs in Carver's stories when several conditions are satisfied. The difference in the two criteria; communion and disjunction, is simply defined. 'Communion, n 1. A sharing of thoughts or feelings 2. a A religiou s or spiritual fellowship.' (Websters, 141) It is a connection between characters which allows t hem to transcend the ordinary and redefine themselves. A moment in which words, actions, and object s take on exaggerated significance . Carver uses this bond between characters in his later writing s more directly, such as in his anthology Cathedral. You must first initialize an intimate inter action between two or more characters who can communicate---either verbally or physically. If an in dividual is still projecting his/her personality onto another, that individual has not experienced t he loss of self-awareness which is necessary for communion. Another important element for this exp erience is touch. The characters who gain understanding of each other, touch on another. It is wit hin these guidelines that I find Carvers stories to be more interesting. Disjointed on the other han d is near similarity in communion, in that it contains the seed of communion which failed to grow. The protagonist achieves some measure of success only to falter. Disjunction occurs when an opportu nity exists for the characters to change their lives in a small, spiritual way, and they are unable to seize it. Even with the spiritual isolation that many of Carvers characters hold, disjunction bl ocks me from the stories in that it leaves me unfulfilled, distracts me from the main point. The tr ansgression of characters within stories, gives reader a greater insight into a spiritual change of some sort, the lack thereof leaves something missing in the story. A more influential meaning is g ained when a connection of some sort is maid between characters. As Carver said in a interview lat er in his life,' In fiction that matters the signifigance of the action inside the story translates to the lives of the people out side the story' ( Davis 658) Carver's life, or biograph y, bares a little insight into his phases, or different stages in which he wrote his different types of stories and poems. Carver lived most of his life in a world which could not provide the luxury of spiritual affirmation. He grew up in Clatskanie, Oregon to working class-parents in a alcoholic home where reading material was limited to Zane Gray novels, and the newspaper. Following high scho ol, Carver married his pregnant high school sweet hart. His drinking became heavier. A list of mea ningless jobs followed , in which writing only provided a emotional outlet. During this time, Carve r's hard life may have instigated the disjunction he portrayed in his earlier writings. Poverty an d family problems continually interrupted his work. Carver was constantly broke, filled for bankrup tcy twice, and was fired from his white collar job as a result of alcoholism. In 1977 he received a National Book award nomination and had several stories published in various magazines and book pres ses. After 1977, when he met his second wife, Carver stopped drinking. This is when his stories of disjunction become more developed. He published several collections including What We Talk About W hen We Talk About Love. In May of 1983, Knopf published Cathedral, Carvers third major book of shor t stories. This is where communion is illustrated in its more explicate form. Unfortunately, due t o poor health Carver could not further communion in his writings, he became to sick to write. In the fall of 1987 doctors diagnosed cancer and removed two-thirds of his left lung, later the cancer moved to his brain where he underwent chemotherapy treatments. In early June, the cancer reappeared . On August 2, 1988 Raymond Carver died in his new house in Port Angeles, Washington. In an interv iew with critic William Stull, he explains about a connection between fiction and reality. I'm inter ested in the personal intimate relationships in life so why not deal with these relationships in lit erature?...little experiences are important underpinnings in our daily lives...They are, after all, something that we all share--as readers, writers, and human beings...I don't think there should be a ny barriers, artificial or otherwise, between life and it's written about. (Stull, ' Matters' 180) The major task of my argument is to explain the reasons I feel Communion is more signif icant. Similarly mentioned above, communion occurred later in Carvers life therefore most of my arg ument shall be identifying with such stories as ' The Bridle ' and ' Cathedral' which seem to illus trate communion in its most explicit form. Carvers earlier writings cope with disjunction in variou s collections, such as in ' Gazebo' and 'Sacks', yet not all seem to exemplify disjunction totally . Disjunction personifies a empty shell in the characters, both spiritually and intimately. Commun ion; oppositely, entices the reading, it shares a ' communion ' between reader and character. Disjunction Disjunction occurs only when an opportunity exists for a change in a character's life in a small, spiritual way, and they a re unable to seize it. Many of the characters in earlier writings cannot seize spiritual affirmatio n because they cannot escape their isolation. This isolation creates a barrier against the readers interaction within the story. Thus, at the moment of disjunction they remain spiritually unchanged, provoking a loss in interaction between reader and story. The underlying reason for a character's

failure is usually an inability to articulate the desire to change. The end result of this lack of intimacy is that the characters exist like shells, without any care into their own lives or relation ships with others. This emptiness leaves the reader coming up empty handed when seeking the motivat ion to pursue the story. The story ' Gazebo', from the collection What We Talk About When We Talk Ab out Love, contains a excellent example of disjunction. The story opens in a motel suite, where the two main characters Duane and Holly, are drinking alcohol and hashing out their marital problems. T hey end up generally stop caring for one another and realize their ' days are numbered, ' both as ho tel managers and as a married couple. In the last few paragraphs, the couple decide the fate of the ir marriage. Disjunction occurs when Duane attempts to convince Holly that they have fond memories of the hotel. Holly does not respond because she has surrendered hope of changing their circumstanc es. ' I pray for a sign from Holly. I pray for Holly to show me.'(29) Paralyzed, Duane desperately wants to communicate with his wife. Although he prays, it is not a spiritual connection between Go d. Holly's desire to leave for Nevada comes full circle as the lack of communication between the tw o is dissolved. The characters illustrate disjunction by creating a barrier to communicate their nee ds and feelings in a way which would results in a greater mutual understanding and true sympathy. T he disjunction leaves the reader very distant from the story in that he/she cannot identify the exac t problem in the verbal gap. This lack of connection between characters transcends a sense of frus tration to interact within the story. A direct connection within characters personifies the attenti on and interest one may feel within a story. Disjunction leaves the story unfulfilled, so that whe n finished the reader feels cheated not knowing the exact fate. Carver's mastering writings skills treat this evidence of disjunction skillfully, yet the emptiness in the interaction between charact ers leaves something missing from his earlier stories using this method of theme. Another example of disjunction lies between the characters in ' Sacks', from What We Talk About When We Talk About Lov e. The disjunction in this story really creates a sense of frustration for the reader. The story deals with the relationship between a father and son following the fathers divorce. Les arranges to meet his father at a airport on his way to San Francisco, the two haven't ' talked ' in some time. Consumed by shame and guilt, the father tells his son about a affair he had years before. I'll tell you, Les. I'll tell you what's the most important thing involved here. You see, there are things. More important things than your mother leaving me. Now, you listen to this...So there I am, almost naked with my clothes in my hand, and Larry is opening the front door' ( What We Talk About When We Talk About Love 44) Les's father commands his son to listen, but Les cannot and will not. Les igno res his father's pleas for understanding and companionship. This lack of respect gives the story li ttle felt sympathy for either character, especially for Les in his situation. This barrier between the two transcends to the reader's frustration he/she may place on either character, hence shelteri ng them from the stories context. The communication gap personifies the notion of a distance in the relationship. This distance between the two pushes the reader from the story, destroying the felt compassion the father character may be searching for. Les has rejected his fathers pleas both lite rally and figuratively. Thus, the opportunity for communication and communion is lost. The story e nds, in my opinion, not with a bang but with a whimper, a hasty retreat, a failure to connect. The disjunction can be interpreted to play a major role in Carver's meaning within such a story. The c ontribution he gives to the story is to personify a very flat character relationship. This method to draw in the reader seems very ordinary and plain, it lacks the intermingling that touched charact ers project within a story. Communion Later in Ca rvers writings he began to explore with communion, a spiritual and emotional bond which results when individuals communicate and reach a conscious understanding of one another. Carvers characters rea ch communion as a spiritual reward for their suffering. Communion becomes more evident in the coll ection of short stories Cathedral. The characters in the communal stories achieve flow experience s as a result of one constant element: communication, verbal and nonverbal. Touch is important bec ause it presents concrete evidence of a spiritual and emotional connection. It is within this scope , and demand in writing that Carvers stories really draw the reader within the world of the story. A much deeper emotional feeling is felt when a connection amongst the characters is reached. The st ory, ' The Bridle' uses touch to instigate verbal communication. The story unveils as a woman and h er family rent a apartment from Marge, and her husband, Harley. Betty, the tenant pays with cris p bills, which Marge examines with great curiosity. The scene demonstrates Marge's hunger for chang e. The relationship expands as Betty arrives to make a hair appointment. The two entangle within a conversation as Marge takes Betty's hand for a manicure. Marge's touch release Betty's tongue. B etty needs the connection as much as Marge,' I can see she wants to tell me about it. And that's f ine with me' ( Cathedral 198) Verbalizing one's past and problem is crucial to communion. Marge changes the subject to Betty's nail beds, Betty withdrawals her hand. The connection seems to bre ak without the physical bond. This observance of a spiritual bond draws the reader into the story with great curiosity. It is almost compelling to watch the bond between the two grow. When suc h a strong relationship is portrayed in a story, the reader, gains much more felt compassion between the characters. This felt compassion sparks a much greater interest between the reader's understan ding of the story. When Marge begins to tell her life story , ' I'm starting to tell how it was befo re we moved here, and how it's still like that'(201) , Harley comes out of the bathroom for a drink of water. The growing intensity expands as the intimacy between the two unfolds. This climax pe rsonifies a justifiable intimate interaction within the story. Only with such communion ties can on e portray a story within this manner. An unfelt bond, or interaction between characters would leav e this scene lacking in spiritual growth, portraying a empty meaning in the text. I don't know much about them. But I know one part of it fits in the mouth...If you had to wear this thing between you r teeth, I guess you'd catch on in a hurry. When you felt it pull, you'd know it was time. You'd

know you were going somewhere ( Cathedral 209 ) Both Marge and Betty both feel the pull of the bit between their teeth. Through communion, however, the woman gain a type of fellowship which helps t hem temporarily endure their circumstances. It is within the parameters of this fellowship that co mmunion reveals itself to be of its strong importance in Carvers writings. Through com munion, the characters in ' Cathedral ' also realize their connections to others. The story, nomina ted in 1984 for the Pulitzer Prize, is the best example of communion. Carver viewed this story unli ke most he had written in the past. He discusses this in an interview in1985 with David Sexton: DS: The story ' Cathedral ' really is the only where people make contact, isn't it ? ...it's unusual i n your stories isn't it? RC: The fact that there's not much love and connection made between my cha racters? DS: Yes. You really make a jump at the end of ' Cathedral,' when suddenly they move toget her instead of apart. RC: Yes, and I like that a lot. When I wrote that story I knew the story was different in kind and degree than any other story I'd ever written. And that was the first story I wrote for the book Cathedral. I think the story signals something for me that is not present in al l my earlier stories. ( Sexton 131). The portrayal of communion in Carvers story ' Cathedral ' seems to personify this connection between characters better than others. The story presents itself as t he narrator, referred to only as ' Bub,' anticipates the arrival of his wife's longtime friend, Robe rt, a blind man. Bud, is clearly intimidated by Robert, whom he refers to only as ' the blind man. ' The expressed barrier in the relationship gives insight to a change that may occur between these characters at a later time. The spark of something to come gives the reader a much more felt compa ssion between the two. As a result of his fear, the narrator calls Robert ' the blind man ' instea d of using his proper name, which tends to give a specific legitimate identity. As a result of Bud s narrow mind, he cannot understand how his wife and Robert could be anything more than sexual. Car ver foreshadows the possibility of enlightenment by characterizing Bud as not entirely hopeless. ' It is beyond my understanding ' (360). This self-evaluation, although minuscule, illustrates that B ud has the ability to change. It is this change that shall occur that defines the deeper meaning in this story personifying communion. Carver uses the simplistic qualities in his characters to motiva te this theme of communion. Later in this story we find that Bud feels extremely left out the conv ersations between Robert and his wife. The reader is sparked to feel the distance these characters begin to show. By achieving this distance, and rejoining them in a later time, pulls the readers in terest within the stories path. This communion between characters transcends the stories meaning to every day lives, thus making the fiction more applicable. Bud mistakenly believes that this visual form of entertainment will exclude Robert. However, Robert foils the narrator's attempt by saying that he has two TV's and can even determine that Bud's is in color. This is where the communion sta rts to unfold in the story. The characters begin to show a connection between their relationship wh ich contrast the earlier felt barrier. Bud begins to realize how isolated his life has become. He says to Robert that he is ' glad for the company ' and then recognizes that he is not s aying it just to be polite. ' And I guess I was. Every night I smoked dope and stayed up as long a s I could...My wife and I hardly ever went to bed at the same time'(368) This sincere admission o f loneliness is important because it signifies the beginning of a genuine, sexual connection with an other human being. Bud is then motivated to make Robert feel more comfortable by narrating a telev ision program on cathedrals. After discussing cathedrals for some time, Bud is compelled to clarify what a cathedral is, and he gropes for the words words to convey it. ' How could I even begin to d escribe it? But say to my life depended on it. Say my life was being threatened by an insane guy w ho said I had to do it or else' (371) The two come together in communion when Robert a nd Bud, at Robert's suggestion, begin to draw a cathedral on a paper bag. Touch instigates the con nection. Bud and Robert make a connection between the two which sparks Bud's describing of a cathed ral to Robert. This is interesting because the position is normally reversed. A compassion is felt for the character of Bud. The reader associates with Bud's character more genuinely.. The second reason communion occurs is that the characters draw the cathedral together, ' We're drawing a cathe dral. Me and him are working on it' ( 374 ) Carver chose them to create new art together. We may n ot know enough about the characters situation to make judgments about them, but through communion we can feel a honest interaction. We know enough about ourselves and our own situations to perhaps b ring a piece of ourselves to the story. That's what communion allows. Conclusion At the end of his life R aymond Carver wrote an essay entitled ' Meditation on a line from Saint Teresa.' The line reads: ' Words lead to deeds...They prepare the soul, make it ready, and move it to tenderness' (No Heroics, Please 223). In the essay, Carver wonders about the words ' soul ' and ' tenderness ' and their mar ked absence in the world today. He speculates that one re-evaluates one's life after reading about the tenderness of others, fictional characters as well as factual ones. This tenderness is a direc t result of what characters experience from communion. They are compelled to interact amongst each other in a spiritual way. It is only logical, then, that Carver draws the conclusion that the words themselves and the interaction between them to the story, has as powerful an impact as the deeds performed. Thus, the words themselves are as important as how one perceives the charac ters interaction. Communion directly uses language and words to express its meaning of connection. Later in the essay Carver qualifies the relationship between words and deeds by saying, ' the righ t and true words, can have the power of deeds' ( 225 ) But which words are right and true? To answ er that question, one must examine Carver's beliefs, particularly those which signify a writers mora l responsibility. According to Carver's mentor, John Gardner, ' right and true words' would be thos e which inspire human beings toward life affirmation, creation, and the positive as opposed to destr uction and apathy(Gardner 18 ). As a artist matures, the work he or she produces usual ly matures as well. This maturing can take many forms, but among the most common are developed of v

oice, refinement of style or even change of style, and shift in theme. Carver's work displays all o f these characteristics, but it is the development of his voice, and the subsequent shift in style w hich engenders, that figures most prominently in his shift from disjunction to communion. Carver's short fiction can be chronologically divided into two types, with each ty pe corresponding to a surprisingly distinct period in his life. The first period encompasses all of his work while he was an alcoholic, and it is notable for the development of the basic themes which mark carver's short fiction. He also began in this time to find his voice, the lean diction which eventually led him towards communion. The second type was the period after which he met his long ti me love, Tess Gallagher. This is the period in which Carver's development of character connection b etween touch and voice became most prominent. This stylistic switch in Carver's stories give the re ader a greater interaction within his simplistic, yet strong language If right and true words have t he power of deeds, then the short stories in which Carver's characters achieve communion have such a power. As a result, those stories can be said to have an immense influence over the reader. The s tories which achieve communion demonstrate how effectively this connection of verbal and nonverbal a ffirmation plays within his writings. Carver's spiritual progression demonstrates how the transcende nce from disjunction to communion played upon the reader. Raymond Carver used his short fiction, pa rticularly those works I have classified as communal, to communicate the importance of life-affirmin g experiences to his readers and move them to action in their own lives. Works Cited Bonetti, Kay. ' Ray Carver: Keepi ng.' Conversations with Raymond Carver. Marshall Bruce Gentry and William L. Stull, eds. Jackson , Mississippi :University Press of Mississippi, 1990. 53-61. Carver, Raymond. Cathedral. New York: Vintage Books, 1989. ---. No Heroics Please. New York: Vintage Books, 1992. ---. What We Talk About When We Talk About Love. New York: Vintage Books, 1989. Davis, Alan. ' The Holiness of Ordinary. ' Hudson Review. Vol.45 Winter 1993: 653-658 Gardner, John. On Moral Fiction. New York: Basic Bo oks, Inc., Publishers, 1978. Halpert, Sam. ' Interviews' ...when we talk about Raymon d Carver. Peregrine Smith, Library of Congress Cataloging-in-publishing, 1991. 51-84 Sexton, David. ' David Sexton talks to Raymond Carver.' Conversations With Raymond Carver. Marsha ll Bruce Gentry and William L.Stull, eds. Jackson, Mississippi: University of Mississippi, 1990. 1 20-132. Stull, William L. ' Matters of Life and Death. ' Conversations with Raymond Carver. Marshal l Bruce Gentry and William L. Stull eds. Jackson, Mississippi: University Press of Mississippi, 1990 . 177-191. raymond carver poet essayist short story writer very different from some other writer s that clipped writing until only essential remained carver only acknowledged effect that fiction co uld have readers proclaimed that should affect readers bonetti thus when carver writes about intimat e relationships reader perceives stories more than entertainment skillful language reader relates ch aracters situations applies knowledge their lives within this realm character affirmation draws much more elaborate meaningful detail short stories propose characters either connect fail connect intim ate spiritual level this difference short stories which either draw reader into away from meaning th ese relations make certain writings more interesting directly communion later writings disjunction e arlier writings distinguish types styles communion within characters later collections cathedral cre ate much depth interest within this scope communion seem become fulfilling with character affirmatio n occurs when several conditions satisfied difference criteria disjunction simply defined sharing th oughts feelings religious spiritual fellowship websters connection between which allows them transce nd ordinary redefine themselves moment which words actions objects take exaggerated significance use s bond between later directly such anthology cathedral must first initialize intimate interaction be tween communicate either verbally physically individual still projecting personality onto another in dividual experienced loss self awareness necessary another important element experience touch gain u nderstanding each other touch another these guidelines find carvers interesting disjointed other han d near similarity contains seed failed grow protagonist achieves some measure success only falter di sjunction occurs when opportunity exists change their lives small spiritual they unable seize even w ith isolation many carvers hold blocks from leaves unfulfilled distracts main point transgression gi ves greater insight into change some sort lack thereof leaves something missing story influential me aning gained connection sort maid said interview life fiction matters signifigance action inside sto ry translates lives people side davis life biography bares little insight into phases different stag es wrote different types poems lived most life world could provide luxury affirmation grew clatskani e oregon working class parents alcoholic home where reading material limited zane gray novels newspa per following high school married pregnant high school sweet hart drinking became heavier list meani ngless jobs followed writing provided emotional outlet during time hard have instigated portrayed ea rlier poverty family problems continually interrupted work constantly broke filled bankruptcy twice fired white collar result alcoholism received national book award nomination several published vario us magazines book presses after second wife stopped drinking become developed published several coll ections including what talk about talk about love knopf published cathedral carvers third major book where illustrated explicate form unfortunately poor health could further became sick write fall doc tors diagnosed cancer removed thirds left lung cancer moved brain where underwent chemotherapy treat ments early june cancer reappeared august raymond died house port angeles washington interview with critic william stull explains connection fiction reality interested personal relationships deal thes e relationships literature little experiences important underpinnings daily they after something sha re readers writers human beings think there should barriers artificial otherwise written stull matte rs major task argument explain reasons feel significant similarly mentioned above occurred therefore most argument shall identifying such bridle seem illustrate most explicit form earlier cope various collections such gazebo sacks seem exemplify totally personifies empty shell both spiritually intim ately oppositely entices reading shares character occurs opportunity exists change small they unable

seize many cannot seize because cannot escape their isolation isolation creates barrier against int eraction thus moment remain spiritually unchanged provoking loss interaction underlying reason failu re usually inability articulate desire result lack intimacy exist like shells without care others em ptiness leaves coming empty handed seeking motivation pursue gazebo collection what talk love contai ns excellent example opens motel suite main duane holly drinking alcohol hashing marital problems ge nerally stop caring realize days numbered both hotel managers married couple last paragraphs couple decide fate marriage duane attempts convince holly have fond memories hotel holly does respond becau se surrendered hope changing circumstances pray sign pray show paralyzed duane desperately wants com municate wife although prays desire leave nevada comes full circle lack communication dissolved illu strate creating barrier communicate needs feelings would results greater mutual understanding true s ympathy very distant cannot identify exact problem verbal transcends sense frustration interact dire ct personifies attention interest feel unfulfilled finished feels cheated knowing exact fate masteri ng skills treat evidence skillfully emptiness something missing using method theme example lies sack s what love really creates sense frustration deals relationship father following fathers divorce arr anges meet father airport francisco haven talked time consumed shame guilt father tells affair years before tell tell important thing involved here there things things than your mother leaving listen there almost naked clothes hand larry opening front door commands listen will ignores pleas understa nding companionship respect gives little felt sympathy especially situation barrier transcends frust ration place hence sheltering them context communication personifies notion distance relationship di stance pushes destroying felt compassion searching rejected fathers pleas both literally figurativel y thus opportunity communication lost ends opinion bang whimper hasty retreat failure connect interp reted play major role meaning contribution gives personify very flat relationship method draw seems ordinary plain lacks intermingling touched project began explore emotional bond results individuals reach conscious reach reward suffering becomes evident collection communal achieve flow experiences result constant element verbal nonverbal touch because presents concrete evidence emotional scope de mand writing really draw world much deeper feeling felt amongst reached bridle uses instigate verbal unveils woman family rent apartment marge husband harley betty tenant pays crisp bills marge examin es great curiosity scene demonstrates marge hunger expands betty arrives make hair appointment entan gle conversation takes betty hand manicure release tongue needs wants tell fine verbalizing past pro blem crucial changes subject nail beds withdrawals seems break without physical bond observance draw s great curiosity almost compelling watch grow strong portrayed gains compassion compassion sparks g reater interest begins starting before moved here still like harley comes bathroom drink water growi ng intensity expands intimacy unfolds climax justifiable ties portray manner unfelt would leave scen e lacking growth portraying empty text know them know part fits mouth wear thing your teeth guess ca tch hurry pull know time were going somewhere feel pull teeth through however woman gain type fellow ship helps temporarily endure circumstances parameters fellowship reveals itself strong importance t hrough also realize connections others nominated pulitzer prize best example viewed unlike written p ast discusses interview david sexton really people make contact unusual your fact made jump suddenly move together instead apart like wrote knew kind degree than ever written first wrote think signals present sexton portrayal seems personify better others presents itself narrator referred anticipate s arrival wife longtime friend robert blind clearly intimidated robert whom refers blind expressed i nsight occur spark come fear narrator calls robert blind instead using proper name tends give specif ic legitimate identity buds narrow mind understand anything sexual foreshadows possibility enlighten ment characterizing entirely hopeless beyond self evaluation although minuscule illustrates ability shall occur defines deeper personifying uses simplistic qualities motivate theme find feels extremel y left conversations sparked distance begin show achieving rejoining pulls path transcends every mak ing applicable mistakenly believes visual form entertainment will exclude however foils narrator att empt saying even determine color starts unfold begin show contrast begins realize isolated become sa ys glad company then recognizes saying just polite guess every night smoked dope stayed long hardly ever went same sincere admission loneliness signifies beginning genuine sexual human being then moti vated comfortable narrating television program cathedrals after discussing cathedrals compelled clar ify gropes words words convey even begin describe depended being threatened insane said else come to gether suggestion paper instigates sparks describing interesting position normally reversed associat es genuinely second reason together drawing working chose create enough situation judgments through honest enough ourselves situations perhaps bring piece ourselves allows conclusion raymond essay ent itled meditation line saint teresa line reads lead deeds prepare soul ready move tenderness heroics please essay wonders soul tenderness marked absence world today speculates evaluates reading tendern ess fictional well factual ones direct experience compelled interact amongst each logical then draws conclusion themselves powerful impact deeds performed themselves perceives directly language expres s essay qualifies deeds saying right true power right true answer question must examine beliefs part icularly those signify writers moral responsibility according mentor john gardner right would those inspire human beings toward creation positive opposed destruction apathy gardner artist matures work produces usually matures well maturing take many forms among common developed voice refinement styl e style shift theme work displays characteristics development voice subsequent shift style engenders figures prominently shift chronologically divided types each type corresponding surprisingly distin ct period first period encompasses while alcoholic notable development basic themes mark also began find voice lean diction eventually towards second type period long tess gallagher development became prominent stylistic switch give simplistic strong language power achieve power those said immense i nfluence over achieve demonstrate effectively nonverbal plays progression demonstrates transcendence played upon used particularly works classified communal importance affirming experiences move actio n works cited bonetti keeping conversations marshall bruce gentry william stull jackson mississippi

university press mississippi york vintage books heroics please york vintage books york vintage books davis alan holiness ordinary hudson review winter gardner john moral basic publishers halpert inter views peregrine smith library congress cataloging publishing sexton david david talks conversations marshall bruce gentry william jackson mississippi university matters death marshall bruce gentry jac kson university pressEssay, essays, termpaper, term paper, termpapers, term papers, book reports, st udy, college, thesis, dessertation, test answers, free research, book research, study help, download essay, download term papers