A lot of writers who do the brutal, spare stuff are not keen on explaining everything a character is thinking, even exactly what a character doesn't understand, or odd things the character might fear. Richard Ford doesn't avoid those tricky emotions here. Since these stories are all first-person, the narrator will always go into detail about what they believe are important moments. It becomes most intense when a character is confused:
Troy moved his hand around on the deer, then looked at me again in a painful way.
"What is it?" he said.
"A deer," I said. "You caught a dead deer."
Troy looked back at the little deer for a moment, and stared as if he did not know what to say about it. And sitting on the wet sand, in the foggy night, he all at once looked scary to me, as though it was him who had washed up there and was finished. "I don't see it," he said and sat there.
^That fragment might not be a good example. Moments that aren't so unusual become evil or darkly funny, like in Raymond Carver. It's the same territory. They were friends apparently. I've been reading some more of Carver's friends since I ran out of his writing to read: Tobias Wolff, Ford, and maybe Andre Dubus? I like this stuff, this book especially reminds me of 'Death in The Woods' by Sherwood Anderson.
Somehow I got a signed first edition of this off of amazon.com for 2 cents and 3.99 s&h.