All Of Us

<p>Raymond Carver, who became a master-storyteller of his generation and was hailed in Europe as 'the American Chekhov', wrote of himself: "I began as a poet. My first publication was a poem. So I suppose on my tombstone I'd be very pleased if they put 'Poet and short-story writer - and occasional essayist', in that order." <br><br>This complete edition allows readers to experience the range and overwhelming power of Carver's poetry for the first time. It brings together in the order of their American publication the poems of <i>Fires</i> (1985), <i>Where Water Comes Together with Other Water</i> (1986), <i>Ultramarine</i> (1988), <i>A New Path to the Waterfall</i> (1989) and <i>No Heroics, Please</i> (1991). <br><br>For readers who know Carver's middle period only through his selected poems, <i>In a Marine Light</i> (1988), it includes the windfall of 51 poems not previously published in Britain. <i>All of Us</i> is edited by Professor William L. Stull of the University of Hartford, and introduced with an essay on Raymond Carver's methods of composition by his widow, the poet Tess Gallagher.</p> <p>Raymond Carver, who became a master-storyteller of his generation and was hailed in Europe as 'the American Chekhov', wrote of himself: "I began as a poet. My first publication was a poem. So I suppose on my tombstone I'd be very pleased if they put 'Poet and short-story writer - and occasional essayist', in that order." <br><br>This complete edition allows readers to experience the range and overwhelming power of Carver's poetry for the first time. It brings together in the order of their American publication the poems of <i>Fires</i> (1985), <i>Where Water Comes Together with Other Water</i> (1986), <i>Ultramarine</i> (1988), <i>A New Path to the Waterfall</i> (1989) and <i>No Heroics, Please</i> (1991). <br><br>For readers who know Carver's middle period only through his selected poems, <i>In a Marine Light</i> (1988), it includes the windfall of 51 poems not previously published in Britain. <i>All of Us</i> is edited by Professor William L. Stull of the University of Hartford, and introduced with an essay on Raymond Carver's methods of composition by his widow, the poet Tess Gallagher.</p>