COMPACTNESS OF COMPOSITION IN THE STORIES OF RAYMOND CARVER AND ABDULLA QAHHOR

Abstract

This article discusses the life and work of the famous American short story writer and one of the outstanding representatives of Uzbek literature, Abdulla Qahhor. It also examines the issues of brevity, accuracy, and depth of meaning that are common to the works of both writers. In particular, Raymond Carver's “Public Mechanics”, “Father”, and Abdulla Qahhor's stories “Tomoshabog”, “Ikki yorti-bir butun” are analyzed. The principles of brevity and meaning in these stories are interpreted comparatively in the works of both authors. Special attention is paid to aspects such as sentences, words, proportion and harmony of form and content, and symbolism used in these stories. In fact, the factors that influenced the creative style of the famous short story writer are also considered. The analysis uses bibliographic, comparative-historical, and sociological methods. The analysis revealed that the compositions of the works are simple and concise in terms of size and structure, devoid of unnecessary details, images and episodes. Although there are differences in terms of themes and ideas, one can notice a commonality in the writers' stinginess with words, repeated editing and the use of sharp word games. Especially for Raymond Carver and Abdullah Qahhor, the most important issue is clearly visible in their preference for each sentence in its place, brevity and the use of epithets as little as possible. We can also see similarities in aspects such as the open endings of the stories and the conclusions left to the reader.