They say you can jinx a poem
if you talk about it before it is done.
If you let it out too early, they warn,
your poem will fly away,
and this time they are absolutely right.
Take the night I mentioned to you
I wanted to write about the madmen,
as the newspapers so blithely call them,
who attack art, not in reviews,
but with breadknives and hammers
in the quiet museums of Prague and Amsterdam.
Three years, Huang Gongwang
worked on his famous handscroll,
Dwelling in the Fuchun Mountains.
As he put successive applications of ink to paper
over the “one burst of creation,” his original design,
it is said he often sang like a tree frog
and danced on his old bare feet.
One day, he adds one hemp fiber stroke,
the next a moss dot.
What patience he had,
like a cat who comes back season after season to a mole’ s tunnel.
Touching your goodness, I am like a man
Who turns a letter over in his hand
And you might think this was because the hand
Was unfamiliar but, truth is, the man
Has never had a letter from anyone;
And now he is both afraid of what it means
And ashamed because he has no other means
To find out what it says than to ask someone.
from my bed
I watch
3 birds
on a telephone
wire.
one flies
off.
then
another.
one is left,
then
it too
is gone.
my typewriter is
tombstone
still.
and I am
reduced to bird
watching.
just thought I'd
let you
know,
fucker.
don’ t ever get the idea I am a poet; you can see me
at the racetrack any day half drunk
betting quarters, sidewheelers and straight thoroughs,
but let me tell you, there are some women there
who go where the money goes, and sometimes when you
look at these whores these onehundreddollar whores
you wonder sometimes if nature isn’ t playing a joke
dealing out so much breast and ass and the way
it’ s all hung together, you look and you look and
you look and you can’ t believe it; there are ordinary women
I had just won $115 from the headshakers and
was naked upon my bed
listening to an opera by one of the Italians
and had just gotten rid of a very loose lady
when there was a knock upon the wood,
and since the cops had just raided a month or so ago,
I screamed out rather on edge —
who the hell is it? what you want, man?
I’ m your publisher! somebody screamed back,
and I hollered, I don’ t have a publisher,
try the place next door, and he screamed back,
you’ re Charles Bukowski, aren’ t you? and I got up and
I went over the other day
to pick up my daughter.
her mother came out with workman’ s
overalls on.
I gave her the child support money
and she laid a sheaf of poems on me by one
Manfred Anderson.
I read them.
he’ s great, she said.
does he send this shit out? I asked.
oh no, she said, Manfred wouldn’ t do that.
why?
well, I don’ t know exactly.
listen, I said, you know all the poets who
don’ t send their shit out.
the magazines aren’ t ready for them, she said,
I suppose so.
I was living in an attic in Philadelphia
It became very hot in the summer and so I stayed in the
bars. I didn’ t have any money and so with what was almost left
I put a small ad in the paper and said I was a writer
looking for work...
which was a god damned lie; I was a writer
looking for a little time and a little food and some
attic rent.
a couple days later when I finally came home
from somewhere
the landlady said, there was somebody looking for
you. and I said,
of course, I may die in the next ten minutes
and I’ m ready for that
but what I’ m really worried about is
that my editor-publisher might retire
even though he is ten years younger than
I.
it was just 25 years ago (I was at that ripe
old age of 45)
when we began our unholy alliance to
test the literary waters,
neither of us being much
known.
I got in the shower
and burned my balls
last Wednesday.
met this painter called Spain,
no, he was a cartoonist,
well, I met him at a party
and everybody got mad at me
because I didn’ t know who he was
or what he did.
