What We Talk About When We Talk About Love

Fiction | Short Story | Adult | Published in 1981

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Summary

Background

Story Analysis

Character Analysis

Themes

Symbols & Motifs

Literary Devices

Important Quotes

Essay Topics

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Discussion Questions

Literary Devices

Setting

There is only one setting in the story: the kitchen belonging to Mel and Terri. It is ordinary, unexceptionable, and relatable. At the same time, there is a sense of disjuncture between this setting and the graphic nature of the characters’ conversations. Almost immediately, Terri starts to talk about a man who tried to kill her. Later, Mel describes a gruesome accident. For the reader, this leads to what the Russian Formalists called ostranenie, or defamiliarization; that is, destabilizing the reader by presenting them with common things in a new perspective so that they can see the world differently.

The kitchen is traditionally seen as a “female” area, though it is Mel who dominates the proceedings. The characters are literally and figuratively confined to this space, which intensifies the feeling of claustrophobia and the limited ability of the characters to communicate and understand one another. The only movements they make are to fetch or pass the gin bottles. Even when it grows dark and they are hungry, no one attempts to turn on the overhead light or find food. Mel and Terri are trapped in the past, unable to take control of their lives. Meanwhile, Nick and Laura are forced to listen to their reminiscences out of friendship, politeness, and weary resignation.

Metaphor

Mel seeks protection from what he sees as a dangerous world, and this is shown through three metaphorical coverings: the knight’s armor, the elderly couple’s plaster casts, and the beekeeper’s outfit. Each covers the body from head to toe, hiding any individual features and rendering one anonymous. At the same time, these articles function as a defense against potential death. Mel’s introduction of these three articles metaphorically signals his desire for emotional protection. However, the impractical application of all underscores Mel’s disillusionment: the elderly man is not protected from heartbreak because the cast prevents him from seeing his wife; the knight would not be protected from uncontrolled external circumstances (like a drunk teen driver) because the armor could suffocate him; and the beekeeper’s suit would not fully enable Mel to exact revenge on his wife because he would put his children at risk. The ineffectuality of Mel’s metaphorical emotional armor suggests that no one can escape the pain of love.

Juxtaposition

Juxtaposition places two different objects or ideas next to each other for comparison. Carver juxtaposes the relationships between the two couples. Nick and Laura’s relationship is depicted with physical warmth, and they are confident in their love for one another: “Nick and I know what love is” (130). From Nick’s perspective, Laura is a perfect companion—gentle, beautiful, and quite likable. He frequently describes her body as “warm” and often touches her hand, thigh, and knees. Conversely, as Nick reaches for his wife, Mel reaches for more gin. Mel and Terri’s relationship is depicted as at odds. The couple is unable to agree on what love is and clashes on what love is not. Despite Mel’s protestations, Terri adamantly maintains that Ed truly loved her. In juxtaposing the two couples, Carver highlights two lenses with which to view love. Nick and Laura’s “honeymoon” marriage is hopeful, affectionate, and innocent. In contrast, Mel and Terri’s four-year marriage is wrought with violence, death, and cynicism. Carver does not suggest that one lens is more accurate than the other, further highlighting The Inability to Define Love.

Repetition

Carver uses repetition to illustrate the progressive effects of alcohol. Characters use repetition to interject repeated questions and to follow the conversation’s often digressive train of thought. Mel, whose topics of conversation veer toward the macabre, repeats the phrase “terrible thing” to describe both his marital love and a knight’s death via suffocation. Both Mel and Terri repeatedly refer to each other as “hon” and “honey,” terms of endearment that appear superficial within the context of their tense exchanges. As Mel becomes increasingly intoxicated, Terri relies on this informal address to mask her indignation with affection. In the end of the story, Laura’s use of “honey” reflects her confusion toward Nick’s sunset remark. Additionally, the repetition of actions—such as, adding lime slices, swirling ice, toasting glasses, and sipping drinks—signal the characters’ internal tensions.