The Art of Editing: Raymond Carver and David Foster Wallace

Cover\nHalf title\nTitle\nCopyrights\nContents\nPreface\nAcknowledgements\n1 ‘Stuff that editors do’\n	‘Why not just have the editor write the book?’: Random House versus Joan Collins\n	‘Imagining what a text can be’: Understanding the editor’s role\n	‘The workings of the work’: Behind the stable text\n	Posthumous editing and the question of audience\n	Raymond Carver and David Foster Wallace: From Minimalism to maximalism\n	Beyond the Minimal Mambo: The return of maximalism\n	‘An artist, not a minimalist’: Wallace on Carver\n2 ‘My only fear is that it is too thin’: The roots of the Carver controversy\n	3 Minimalism in action: Making What We Talk About When We Talk About Love\n		‘My very sanity is on the line here’: The textual history\n		Staying inside the house: From ‘Beginners’ to ‘What We Talk About When We Talk About Love’\n		Little human connections: From ‘A Small, Good Thing’ to ‘The Bath’\n		‘Too abrupt?’: Rewriting ‘Friendship’\n		‘A total rewrite’: Human connection in ‘If It Please You’\n		‘Low-rent tragedies’: The critical legacy\n	‘Spare, austere, stately’: The beginnings of Carver and Lish’s collaboration\n	‘A milestone, a turning point’: The development of ‘Neighbors’\n	‘The instant you offer an explanation is the instant you have sentimentality’: Lish’s changes to Will You Please Be Quiet, Please?\n	Compression and consecution: ‘Will You Please Be Quiet, Please?’\n	‘The dark of the American heart’: Defining Carver’s vision\n4 ‘It is his world and no other’: Gordon Lish, authorship and Minimalism\n	Declaring literary independence: Cathedral\n	‘Winner’s history’: Coming to terms with Carver’s texts\n	A different kind of bleeding: Lish and Minimalism\n	‘He took what he needed’: Carver and Gallagher\n5 ‘Your devoted editee’: David Foster Wallace and Michael Pietsch\n	‘Everything I’ve ever let go of has claw marks on it’: Editing Wallace\n	‘My gut tells me you can help me’: Wallace’s work with Pietsch\n	‘Playful combat’: The editing of Infinite Jest\n	‘I feel like I know him, and I trust him, and that’s priceless’: After Infinite Jest\n6 Consider the editor: Assembling Th e Pale King\n	‘No kind of order’: Assembling The Pale King\n	‘Fragmentco Unltd’: ‘Cede’ and The Pale King\n	Fragments and variants: The Pale King ’s multiple editions\n	Dead ends and reroutings: Understanding Wallace’s fluid text\n7 ‘Magical compression’: Wallace’s return to Minimalism\n	‘Clarity, precision, plainness, lucidity’: The value of compression\n	‘Not another word’: Reticence and reserve\n	‘The monk’s cell and the hermit’s cave’: Wallace’s ‘Via Negativa’\n8 The anxiety of editorial influence\n	‘The handwriting business’: Carver’s editorial anxiety\n	‘What if this book just isn’t supposed to be all that long?’: Editing and anxiety in The Pale King\nConclusion\nBibliography\nIndex