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Less Is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Thesis

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Less Is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Thesis Open Research Online The Open University’s repository of research publications and other research outputs Less is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Thesis How to cite: Greaney, Philip John (2006). Less is More: American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme. PhD thesis The Open University. For guidance on citations see FAQs. c 2006 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000e8d3 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk N) S-T-K-1C---T-E: tý Less is More American Short Story Minimalism in Ernest Hemingway, Raymond Carver and Frederick Barthelme Submitted for the degree of Doctor of Philosophyfor the OpenUniversity in the discipline of Literature, September 2005 by Philip John Greaney, B. A., M. A. A-uTH-o(z- ijc> ? -s gos 4-fc,cD 2CC ph-rF oi; ý SjeV-ýk%SýC>W 2, ) ocl EX12 THE OPEN UNIVERSITY RESEARCH SCHOOL Library Authorisation Form Pleasereturn this form to theResearch School with the two.bound copies of your thesisto be depositedwith the UniversityLibrary. All candidatesshould complete parts one and two of the form. Part threeonly appliesto PhD candidates. Part One: CandidatesDetails ký! t 4.97! ýP; tJ6 -1 Name: ... ... ................................... PI: Degree: .... ..................... i ........................................ Thesis title: ................... AA-1t F,(tv&w'ck. ......... ..........OLW Part Two: Open University Library Authorisation I confinn that I amwilling for my thesisto be madeavailable to readersby the OpenUniversity Library, andthat it maybe photocopied,subject to the discretionof the Librarian. 5/. Signed: Date: a/. IqP6 ....... ................................ ...... .......... Part Three: British Library Authorisation [PhD candidatesonly] If you want a copy of your PhD thesis to be available on loan to the British Library Thesis Service as and when it is requested,you must sign a British Library Doctoral Thesis Agreement Form. Please return it to the ResearchSchool with this form. The British Library will publicise the details of your thesis and may request a copy on loan from the University Library. Information on the presentation of the thesis is given in the Agreement Form. Pleasenote the British Library haverequested that thesesshould be printed on one sideonly to enable them to producea clearmicrofilm The OpenUniversity Library sendsthe fiffly boundcopy of theses to the British Library. The University hasagreed that your participationin the British Library ThesisService should be 7zVol Pleasetick either(a) or (b) to indicateyour intentions. I am willing for the OpenUniversity to loan the British Library a copy of my thesis. A signedAgreement Form is attached I do not wish the OpenUniversity to loan the British Library a copy of my thesis. Signed: Date: ........... ... .... .... ...................................... .... ................. b--vaxm\word\fo=s\EX12 ABSTRACT This work suggestsways in which 'less' become 'more' in the minimalist approach of three American short story writers, Ernest Hemingway, Raymond Carver and Frederick Barthelme. By 'less', I mean minimalism's tendency to create a pared down, seemingly 'innocent' style; to use absence for effect; and to omit vital narrative details. By more, I mean the range and depth of emotional effects minimalism achieves, and the ways in which it demands the reader engage with the text. Minimalism achievesits effects because,not in spite of, its tendencytowards reduction,its relianceon absence.The paring down processcreates interpretative indeterminacy,by omitting apparentlyvital information. Hemingwaymay be thought of as the originator of the minimalist short story; Carver and Barthelmedevelop new ways to implicatethe readerin the creationof the text, for exampleby suggestingthat the readeris a voyeur, and through the useof the secondperson narrator. Together, minimalist writing might be reconsideredin light of the ways in which it demands readerengagement. My readeris an implied one and my choice of writers suggestsways in which the literary history, in minimalist aestheticdeveloped; how it might be valued within and the history of the American short story in particular. I considerHemingway in terms discussion of the origins of the minimalist approachin the short story, henceI offer a both of how his work developedwithin the context of literary history, as a reactionto modernismand tradition. I concludeby suggestingthat the statusof minimalist writing in literary history might be reconsidered in light of a renewed understanding of how this seeminglyimpoverished, restrained and slight writing createsworks of great richness,emotional intensity, and intellectual depth. CONTENTS Introduction How'Less' Becomes More in Minimalist Writing Chapter One The Origins and Developmentof Hemingway's Minimalist 36 Aesthetic: from Apprenticeshipto In Our Time Chapter Two Minimalism and Literary History 127 Bridging the Gap from Hemingway to Carver Chapter Three RaymondCarver's Will YouPlease Be Quiet, Please? 191 Seeingand Being Seen Chapter Four If You Can do Anything, Then You Can do Nothing' 263 Frederick Barthelme's" Contemporary Minimalism Conclusion The Past, Present and Future of Literary Minimalism 344 Bibliography 370 ACKNOWLEDGEMENTS My first thanksare to my supervisors:Dr Richard Brown, who hasbeen there all the way; and ProfessorDennis Walder and Dr David Johnson.I thank, too, the Literature Departmentat The Open University, and the library, which havebeen extremely helpful in finding eventhe most seeminglyobscure texts. Thanksare also due to ProfessorCynthia W. Hallett, who helpeda great deal, most particularly in providing a draft of a conferencepaper at the time unpublished. My family and friends have beena great help. Although too numerousto name,I'd like to highlight Janetand Joyce,who havebeen very supportive.Thanks to Steve Rycroft for his generouscomments at the eleventhhour; and to Owen and Emily for moral supportalong the way. This PhD is dedicated to my mother, Edith W. Greaney, and to the memory of my father, Philip L. Greaney. INTRODUCTION How 'Less' Becomes 'More' in Minimalist Writing Minimalism has beensubjected to hostile criticism by major US critics, from its receptionin the late 1970s,until the presentday. JohnAldridge's Talentsand Technicians:Literary Chic and the New Assemblý-LineFiction, for example,is a sustainedattack on what he calls pejoratively 'assembly-line' fiction, where minimalism is variously criticised for being unoriginal, homogenisedand ultimately of little value.' His work reflects a concernthat the minimalist approachwas banal, trivial and inconsequential,privileging form over effect: '[Minimalism] suspendsall aestheticinnovation in favour of parsingout the most mundaneconcerns of superficial life'. 2 Elsewhere,Madison Smartt Bell invertedthe notion that lessmeans more when applied to Minimalism, by suggestinginstead that 'less meansless'. 3 The hostility to Minimalism culminatedin 1989,when five critics convenedon Minimalism, and underthe heading'Throwing Dirt on the Grave of Minimalism', declaredthat it was 'deadi. 4 1J. W. Aldridge Talentsand Technicians:Literary Chic and the New Assembly-LineFiction (New York: CharlesScribner's and Sons, 1992) 2 J. Klinkowitz, 'The New Fiction! in M. Cunliffe (ed) ThePenguin History oftiterature: American Literature since 1900 (New York: Penguin,1993), p. 364. 3 M. SmartBell 'Less is Less:The Dwindling American Short Story' Harper's 272 April 1986:pp. 64- 69. 4 S. Koch, et al. 'Throwing Dirt on the Grave of Minimalism.' Columbia:A Magazineof Poetry and Prose14 (1989): pp. 42-61. 2 One result of this sustainedcriticism is that, despiteits prevalencein American short fiction over the last thirty years,critical appraisalsof minimalism are disproportionatelyfew, and when they do appear,they are largely antagonistic. Consequently,it appears- with the odd exception,as notedbelow- that minimalism hasnot beengiven the critical reading it deserves.Questions remain as to the origins of literary minimalism, the extent to which it might be valued,and its influenceupon future literatures.It is the intention of this thesisto addrýsssuch questions and in so doing, addressesthis critical neglect.This will be donethrough an analysisof three American short story writers who appearat strategicpoints along minimalism's timeline (loosely, at the beginning,middle and now): ErnestHemingway, Raymond Carverand FrederickBarthelme. The notion that minimalism's pared-down, elliptical and inexplicit aesthetic necessarily inculcates an equally underwhelming, impoverished and ultimately valueless effect upon its reader is in need of reconsideration. I refute the equation that 'less' does indeed mean 'less' by suggesting ways in which less becomes more in the collections of minimalist short stories of these three writers. It is my contention that 4more'means a richnessof effect, an interpretativepolyvalency, an interactivevitality which exists because,not despiteof, the 'less' which is minimalism's restraint,its tendencytowards reduction, its dependenceupon absencefor effect. My central argumentis that minimalist narrativetechniques create
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