Czytaj książkę: «Essential Bukowski: Poetry»
COPYRIGHT
4th Estate
An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF
This eBook first published in Great Britain by 4th Estate in 2016
First published in the United States by Ecco, an imprint of HarperCollinsPublishers, in 2016
Copyright © 2016 by Linda Lee Bukowski
Cover photograph of Charles Bukowski by Mark Hanauer
Charles Bukowski asserts the moral right to be identified as the author of this work in accordance with the Copyright, Design and Patents Act 1988
A catalogue record for this book is available from the British Library
All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins
Source ISBN: 9780008225155
Ebook Edition © October 2016 ISBN: 9780008225162
Version: 2016-10-21
CONTENTS
Cover
Title Page
Copyright
Introduction
friendly advice to a lot of young men, and a lot of old men, too
as the sparrow
layover
the life of Borodin
when Hugo Wolf went mad
destroying beauty
the day I kicked a bankroll out the window
the twins
to the whore who took my poems
the loser
the best way to get famous is to run away
the tragedy of the leaves
old man, dead in a room
the priest and the matador
the state of world affairs from a 3rd floor window
the swan
beans with garlic
a poem is a city
consummation of grief
for Jane: with all the love I had, which was not enough
for Jane
john dillinger and le chasseur maudit
crucifix in a deathhand
something for the touts, the nuns, the grocery clerks and you . . .
no. 6
and the moon and the stars and the world:
true story
the genius of the crowd
I met a genius
swastika star buttoned to my ass
the blackbirds are rough today
If we take—
another academy
the poetry reading
the last days of the suicide kid
the shower
the mockingbird
style
girl in a miniskirt reading the Bible outside my window
the shoelace
those sons of bitches
hot
trouble with Spain
a radio with guts
some people never go crazy
the fisherman
the trash men
face of a political candidate on a street billboard
the proud thin dying
an almost made up poem
a love poem for all the women I have known
art
what they want
one for the shoeshine man
the meek have inherited
who in the hell is Tom Jones?
and a horse with greenblue eyes walks on the sun
an acceptance slip
the end of a short affair
I made a mistake
$$$$$$
metamorphosis
we’ve got to communicate
the secret of my endurance
Carson McCullers
sparks
the history of a tough motherfucker
oh, yes
retirement
luck
cornered
how is your heart?
the burning of the dream
hell is a lonely place
the strongest of the strange
8 count
we ain’t got no money, honey, but we got rain
flophouse
the soldier, his wife and the bum
no leaders
Dinosauria, we
nirvana
the bluebird
the secret
fan letter
to lean back into it
the condition book
a new war
the laughing heart
roll the dice
so now?
the crunch
Sources
Acknowledgments
About the Authors
Also by Charles Bukowski
About the Publisher
INTRODUCTION
With more than twenty Charles Bukowski poetry books now available in print and dozens of first-rate unpublished poems on file, an essential collection has been long overdue. The task at hand was titanic: A prolific author by any measure, with some five thousand poems on record written over a span of fifty years, Bukowski famously wrote almost every night in an alcoholic stupor, trashing most of the gibberish the morning after. Picking Bukowski’s best poems out of this massive heap was daunting, to say the least.
“The bluebird,” “the genius of the crowd,” “roll the dice,” “the crunch,” and other popular poems were strong contenders even before I put together a tentative list. As I pored over both the published and the unpublished work, some relatively obscure gems, such as “when Hugo Wolf went mad,” “sparks,” “the loser,” and “another academy” came back to life for me. I also included poems that were pivotal in Bukowski’s career, like “swastika star buttoned to my ass,” which moved longtime German translator, agent, and friend Carl Weissner to become a fervent Bukowski enthusiast after reading it in a small press magazine in England in 1966. There were one hundred and seventy poems in my final selection for the book, which then had to be cut down to only ninety-two—“democracy,” “they, all of them, know,” “the word,” and other top-notch poems had to be discarded.
These ninety-two essential poems barely represent two percent of Bukowski’s mammoth output, but his poetic evolution is hard to miss in this chronological collection. The early poems, with their lyricism and occasional surreal imagery, give way in the 1970s to Bukowski’s “Dirty Old Man” macho persona, when he finally achieves success in his fifties, after which he takes, in his final years, a more philosophical stance on life. Through it all, what remains the same is Bukowski’s brilliance at capturing things as they are, his crystal-clear snapshots of his immediate experiences as well as the world at large, which he hardly ever photoshopped after the fact.
It is precisely this genuineness, along with the timeless quality of Bukowski’s most accomplished poems, that makes us embrace his poetry with open arms: the day-to-day but crucial trivialities found in “the shoelace”; the sensuality of “the shower”; the forces of life at work in “the mockingbird” and “the history of a tough motherfucker”; the elusive nature of art in many of the poems; the self-deprecating humor in “we’ve got to communicate”; the imperfection that makes us almost perfect in “one for the shoeshine man”; and the heartfelt portraits of the artists that Bukowski looks up to.
There’s also the striking, disarming simplicity of “art” and “nirvana”; the Hemingwayesque spare lines of “Carson McCullers” and “hell is a lonely place”; the hymns to individualism and willpower of “no leaders” and “the genius of the crowd”; the never-take-things-for-granted spirit of “I met a genius”; the long narrative poems that read as well-paced short-stories; and the life-affirming drive of “the laughing heart” and “the crunch.” These last two poems show that, despite the darkness that often entered his life and poetry, Bukowski always saw the light at the end of the tunnel, and we can’t help but identify with that feeling.
These poems are Bukowski at his most captivating: unvarnished, witty, and passionate, showing us all “the way” as he listens to classical music on “a radio with guts” and drinks “the blood of the gods” in his small Los Angeles apartments and studios. The Buddha of San Pedro, Bukowski ultimately smiles because he knows the secret of it all is way beyond him, and that’s the beauty of it: Bukowski distills life to its very essence, squeezing the magic out of the ordinary with his unmistakable, surpassing simplicity.
Essential, indeed.
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