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Indiana University-Purdue University Indianapolis (IUPUI) / In 1998, D.T. Max wrote his article, “The Carver Chronicles,” about the manuscripts Gordon Lish sold to the Lilly Library at Indiana University. The public was made aware of Lish’s heavy editing of Raymond Carver’s short stories—both in early story form and, later, in book collection form. His heaviest editing was during Carver’s first two major story collections, Will You Please Be Quiet, Please? (1976), and What We Talk About When We Talk About Love (1981). I discuss three stories, “What’s in Alaska?” and “Fat,” from the first major collection, and “What We Talk About When We Talk About Love” from the second major collection. For this last story, we will separate Lish’s editorial vision from Carver’s original authorship by comparing the published book text with Carver’s original story, “Beginners”—two versions, one story. The stories were examined to understand Lish’s editorial motives. To generate a deeper understanding of their textual visions, a critical analysis will evaluate their differences. The stories will first be analyzed in the state they existed before Lish’s changes, and then a second analysis will pinpoint Lish’s major editorial changes and show how they affected Carver’s original vision. The analysis will provide a foundation for discovering a final product understood as a combination of two visions, Carver’s original authorial vision and Lish’s editorial vision. The basis for future Carver studies is to separate these men’s work. Carver’s authorial intent becomes paramount in the investigation for finding the true Carver through critical and textual analysis. Their two distinct and separate visions affect how contemporary Carver studies critically examine his work. To understand Carver textually is to get at his original intent, to illuminate his true vision, separate from Lish’s edits, in order to open up a new perspective and understanding of Carver’s emotional depth and expansiveness. Robert Rebein, Ph.D. (Chair)

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Dissertation submitted to the Department of English, University of the Witwatersrand, for the Degree of Master of Arts. / This dissertation is a critical biography of the late Rolfes Robert Reginald Dhlomo, the writer, journalist and editor. It includes a discussion of the main themes of his English and Zulu works. The first chapter outlines Dhlomo's life, and provides background information about his Sociological, historical and political context in order to delineate the man, his reasons for writing, the subject matter of his works, and his Significance for early twentieth century black literature and journalism in South Africa. The second chapter of this dissertation expands on the background to Dhlomo's writing and ideas through an examination of the aims and work of the Zulu Society. The third chapter analyses Dhlomo's use of English and Zulu in his writing, and suggests the ways in which these languages influenced each other, as well ag Dhlomo's achievement as an early black writer in English. The next chapter focuses on those of Dhlomo' s works which are commonly assumed to be fiction. This study reveals the writer's moralistic bias, and his tendency towards didacticism. This tendency as Chapter Four shows, deprives Dhlomo's works of their apparent fictitiousness. Chapter Five is an -overview of Dhlomo's historical works and an analysis of the writer's perception and presentation of history. It contains translations from Dhlomo's books about the Zulu kings from Shaka to Dinuzulu. The final chapter of this dissertation discusses a theme which preoccupied the writer throughout his life, that is, the role of traditional Zulu medicine and religion in modern society. Although Dhlomo's response to this topic varied from work to work, his attitude ultimately did not alter. The chapter demonstrates Dhlomo's desire to retain that which is traditional, as well as his reluctance to accept any concept which challenged Christianity. / Andrew Chakane 2018

A majority of critics examine Raymond Carver’s fiction in terms of minimalism, but in this thesis, I highlight the themes in Carver’s work rather than emphasize the format. Many women in Carver’s work contrast the futility of their male counterparts by showing a determination to move on with their lives. By looking at each of Carver’s major collections of short stories, one may find a progression in the way women react to the hopeless situations in their lives. Carver’s early stories, found in "Will You Please Be Quiet, Please?", show women who are capable of handling situations, yet unproductive in finding true autonomy. Later stories in "Cathedral" and "Where I’m Calling From" find women working with men and eventually finding their own independence - a characteristic that begins to develop in Carver’s second collection, "What We Talk About When We Talk About Love". / Thesis (M.A.)--Wichita State University, Dept. of English. / Includes bibliographic references (leaves 57-60). / "May 2006."

Texte remanié de: Th. doct.--Récife--Federal university of Pernambuco. / Bibliogr. p. 142-148. Index.

Dissertation--Bonn--Rheinische-Friedrich-Wilhelms-Universität, 2005/2006. / Bibliogr. p. 573-616.

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