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How much of what we know as the Raymond Carver minimalist style is really the red pencil of his  editor Gordon Lish, who slashed some of the stories by 70 percent?

Personally I think the world needs more good, ruthless editors.

“Editing takes a variety of forms. It includes the discovery of talent in a relatively obscure literary magazine or in a “slush pile” of unsolicited manuscripts. It can be a matter of financial and emotional support in difficult times. And, once faced with a manuscript, an editor ordinarily tries to facilitate a writer’s vision, to recommend changes—deletions, additions, transpositions—that best serve the work. In the normal course of things, editorial work is relatively subtle, but there are famous instances of heroic assistance: Ezra Pound cutting T. S. Eliot’s “The Waste Land” in half when the poem was still called “He Do the Police in Different Voices”; Maxwell Perkins finding a structure in Thomas Wolfe’s “Look Homeward, Angel” and cutting it by sixty-five thousand words. In the years after the publication of “Will You Please Be Quiet, Please?,” Carver wrote a series of stories dwelling on alcoholism and wrecked marriages. They were eventually published under a title recommended by Lish: “What We Talk About When We Talk About Love.” According to the professors William L. Stull and Maureen P. Carroll, who, with the coöperation of Tess Gallagher, have been doing scholarly work on Carver, Lish mailed Carver an edited manuscript in the spring of 1980 containing sixteen of the seventeen stories that eventually appeared in the book. Lish had cut the original manuscript by forty per cent, eliminating what he saw as false lyricism and sentiment. . .”

Rough Crossings: The Cutting of Raymond Carver, in The New Yorker.