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Saturday, October 14, 2017

New Release: Charles Bukowski Storm for the Living and the Dead: Uncollected and Unpublished Poems, Edited by Abel Debritto (Ecco, 2017) Hardcover only, 272 pages.


Unsurprisingly, Ecco has unearthed more errant stubble from Buk’s spent writing ashes. This most recent internment by scholar Abel Debritto, will be released on 7 November 2017 in a hardcover edition. If previous Ecco publications are any indication, this book will probably be a further watering down of Bukowski’s work and perhaps another posthumous kick into the balls of his reputation as an artist.

We need to consider, however that Bukowski wrote so much undocumented material during his lifetime. He posted hundreds, perhaps thousands of poems to small publishers without keeping carbon copies or accurate records of what went where or to whom. Several hundreds of poems/ stories were never returned or were eventually lost or stolen. Has Debritto sourced some more of these?

A source within Bukowski.com reckons Storm for the Living and the Dead consists of 72 previously uncollected and 26 previously uncollected.

Black Sparrow Press editor John Martin published most of Bukowski’s best work during his lifetime but continued to edit and churn out more of his stuff over a dozen or so volumes for Ecco after Buk’s death in 1994.

Find here a 2013 BM review of the Best & Worst of ECCO books: https://georgedanderson.blogspot.com.au/2013/09/the-best-and-worst-of-charles-bukowskis.html

Debritto has edited recent publications, such as, Bukowski on Writing (2015), Bukowski on Cats (2015) and Bukowski on Love (2017). On Writing gathers together some of Bukowski’s previously uncollected letters about writing whereas the other two books collect Buk’s previously published work on the themes of cats and love. 

These are excellently researched books but not as interesting, nor in the same league as the City Lights publications, edited by David Stephen Calonne, such as, Portions From a Wine-Stained Notebook (2008), Absence of the Hero (2010), More Notes of a Dirty Old Man (2011) and The Bell Tolls For No One (2015). As reviewed in Bold Monkey, these books collect in a scholarly fashion the best of Bukowski’s previously uncollected poems, short stories and essays.

Debritto has also edited for Ecco Essential Bukowski Poetry (2016) which includes about 100 of Bukowski's 5000 or so poems and has published a critical study Charles Bukowski, King of the Underground: From Obscurity to Literary Icon (2013) which carefully documents Bukowski's rise to fame prior to quiting his post office job and writing his first novel Post Office
 
As a Bukowski tragic, I’ll certainly be having a close look at what Debritto has now uncovered in a decade or more of research. Should be interesting how he structures and sources Buk’s previously uncollected or unpublished work.

On another note, I wish John Martin would release his full take on Bukowski’s publishing career & relationship within my lifetime.

Ecco blurb:

About the Book 

A timeless selection of some of Charles Bukowski’s best unpublished and uncollected poems Charles Bukowski was a prolific writer who produced countless short stories, novels, and poems that have reached beyond their time and place to speak to generations of readers all over the world. Many of his poems remain little known, material that appeared in small magazines but was never collected, and a large number of them have yet to be published. 

In Storm for the Living and the Dead, Abel Debritto has curated the very finest of this material—poems from obscure, hard-to-find magazines, as well as from libraries and private collections all over the country—most of which will be new to Bukowski’s readers and some of which has never been seen before. In doing so, Debritto has captured the essence of Bukowski’s inimitable poetic style—tough and hilarious but ringing with humanity. Storm for the Living and the Dead is a gift for any devotee of the Dirty Old Man of American letters.


Thursday, August 24, 2017

Book Launch: Alan Wearne Gleebooks 20 August 2017



Been crook lately, but managed to attend a recent book launch in Sydney which featured probably Australia's best satirist poet, Alan Wearne. His latest collection, These Things Are Real (Giramondo, 2017) was brilliantly dissected and explained by the poet Joanne Burns. Wearne sat pensively on the stage and smiled broadly & nodded his bowed head repeatedly as Burns provided keen insights into his work- many of which- as Wearne later admitted in amazement- he had no idea he had created.

Buy the book here: http://giramondopublishing.com/product/these-things-are-real/


The second collection With The Youngsters (Grand Parade Poems, 2017) was launched by A J Caruthers, a young UOW academic. His speech was incredibly erudite and impressive to the point that many in the audience looked anxious and needed to leave during/ or at the end of it. The book collects Wearne's students' work over twenty years and features many of their group experiments with the conventional forms of sestinas and villanelles. A couple of my ex-students contributed to the collection.

Find the book here on Grand Parade Poets: http://grandparadepoets.com/with-the-youngsters-a-collection-of-group-sestinas-group-villanelles-edited-by-alan-wearne/

Friday, July 14, 2017

Book Review: Wayne F. Burke A LARK UP THE NOSE OF TIME (BareBackPress, Hamilton, 2017) 92 pages



A Lark Up the Nose of Time is Vermont based writer Wayne F. Burke's fourth collection poetry published by BareBackPress. It follows Words That Burn (2013), Dickhead (2015) and Knuckle Sandwiches (2016). A fifth volume, tentatively entitled Poems From The Planet Crouton, will shortly be forthcoming. Some of the poems have previously appeared in fine small press publications such as Meat For Tea, The Rat’s Ass Review, Zombie Logic Review, The Bees Are Dead and dozens of others.

There are 75 poems in this collection which are divided into six sections. The poems are typically confessional & 20-30 lines in length and use a rush of anecdotal detail in simple, highly accessible language. The words hug the left margin and cascade down the page without the relief of stanzas. The narrative, free verse poems are reminiscent of Bukowski but Burke puts his own particular spin on the humbling tales of a flawed man.

In the interview which follows at the end of this review, Burke was asked if he makes any shit up. He shrewdly replies, “On rare occasions, yea, but more in the way of exaggeration than lies. I mean, the poem is not a transcription of so-called REAL life, but an act of creation. It can go wherever the mind takes it. I am not writing autobiography though I use my life experiences as a sort of foundation or template or buoy maybe, something to anchor the imaginary stuff to.”

After graduating from college in the late 1970s, Burke has worked in a wide variety of jobs, “Jobs,” he cynically quips, “that someone in America with a degree in liberal arts is deemed qualified for: truck driver, laborer, janitor, dishwasher, cook, moving man, machine shop operator, store clerk, substitute teacher, security guard, oil rigger, census taker, gas station attendant and others.” More recently, Burke has worked as a Nurses Assistant and after returning to college in his 50s, as a higher paid Practical Nurse.

His wide life experiences have enabled Burke to write insightfully about the human condition but he remarks that we all are unique and have a story to tell: “The work has given me subjects and/ or anecdotes to write. It is part of my story—everyone has a story. It is what we have—all we have—that is essentially our own.”

Burke stresses that he wasn’t on his death bed when he began to get it all down, “My heart operation at 58 did not prompt me to start writing again—I had started about a year before with a do or die attitude, that it was time, now or never…I finally found the FORM, poetry, and exploited it."

The poems appear to be quickly and urgently written which give the collection a raw, spontaneous edge. But in an email this morning, Burke expressed clearly the pain-staking difficulty of his writing process, "The first draft of pieces may be 'quick' but my god the sometimes torturous struggle to get the thing into shape--get it to a point where it can easily be read--where the music of the language is just so--that is never a 'quick' process. Screw, chip, clip, prune, cut, smooth, flatten...Can go on & on. Freakin' forever."

To give you a heads-up about what’s in the book, here’s a brief overview of the 6 sections:

DIRTY SUN

These poems take us back to Burke’s childhood in the late 1950s and 1960s, to a time when kids were allowed to play in trees (“Bomber”) and take crazy, sometimes deadly risks (“Disgust”, “Kamikaze”), when ice creams cost a dime (“10 cents”), when bullying (“Posse”), overt racism (“Schwartzie”) and pedophilia (“Bill”) were rampant, when people paid lip service to religion (“Holy Moly”) and were sexually naïve (“Babies”), when fists could be meted out to resolve neighbourhood disputes (“Fat Bastard”) & inter-gang rivalries (“Sphincter”) , a time when kids played impromptu ball games (“Ballplayer”) and when mentally sick people were placed in institutions rather than being left to fend for themselves on the streets (“Looney Bin”).

Burke writes about his childhood with great affection and without passing judgment on the people or events. He simply records what he saw & can recall- piling on the images, with the occasional use of direct speech to add to the poem’s authenticity.

The poem “Bill” showcases Burke’s use of understatement and his grim verbal irony from this period:

Bill

stepped off of the town bus one day
and onto the field
where we played football
and told us his name was “Bill”
and that he had watched us
from the bus
and that
if we would let him
he would be our manager
and try and arrange games
between us and teams from
other towns…
He wore glasses and had a long
horse-face plus white shirt and
black slacks on a bowling-pin shaped
body;
he came by every day afterward
to watch us;
he said he would be our score-keeper
and that he would write stories about us
and have the stories published in the
newspaper…
At the dinner table my Uncle
asked about Bill
and I told him what Bill had said
he would do for us
and the next day my Uncle
showed up at the field
and told Bill to get lost and to stay
the hell away from us
and me and the other kids
did not know why my Uncle
was so upset or
why he had told Bill to go away
because,
we all agreed,
Bill was a nice guy
A very very nice guy.

(reprinted with the permission of the poet)


RIPE BANDANNA

These poems cover Burke’s early working life as a house painter (“Brad”), fry cook (“Vane”), laborer (“Nips”) and a carpenter’s assistant (“Roy”). These are essentially portrait poems of the men who have employed the young adult Burke. The speaker, presumably Burke, is usually drunk or hungover, projectile vomiting, getting stopped by the cops or getting the crap beaten out of him.

The poem “Lights” is characteristic of Burke’s gritty, detached, matter-of-fact style:

Lights

We got stopped by cops
in a show of blue light
and a cop told my cousin
“step out of the car”
and made him walk a straight line
touch his toes
then his nose
and my cousin,
as shit-faced as he was,
somehow passed the tests
and we drove off
to the club
where we picked-up two girls
and then drove up to the mountain top
with them
and parked;
the wind howled around the car
non-stop
the lights of the town dully glowed
in the valley below;
my cousin and his girl went for a walk.
My girl had bow-legs
and a pigtail;
she unzipped my pants
then pulled hers off
then straddled me
as I lay back,
then she sat and guided me
inside of her and
then moved up and down
and lifted off
as I shot
and the wind wailed
and the car rocked
and down below the lights winked
on & off.

(reprinted with the permission of the poet)

A LARK UP THE NOSE OF TIME

The catchy title of the collection derives from the opening poem of this section. It is a road trip poem which describes a journey taken by Burke and his two friends Ron & Steve from Kansas, to Saint Louis and Daytona and eventually to Ottawa.

This section is perhaps the best in the collection as it offers more considered adult perspectives on life- the misunderstandings, the stuffed-up relationships between people, the physical pain, the terrible loneliness, the boredom, the loss of direction and purpose in life.

The poem “Fall” uses the concept of pathetic fallacy in an extended metaphor of swirling leaves to describe Burke’s mental unrest and his brooding sense of procrastination: 

Fall

trying to decide what to do with myself
I sit
on a park bench
in the sunlight
to think
and I get caught
in whirlwinds
of yellow and rust-colored leaves
rushing from one side of the park
to the other
like a mob storming a Bastille
but then
lying down just as quickly,
spent
apparently,
until they get up
and renew the rush
only in a different direction
obviously confused
and
unruly;
a tornado of them whirls into the road
and is run through by a truck
and scattered;
they are a spiritual force
mainly
though make a clatter on the sidewalk
like tiny horses’ hooves
scuttling
like the clouds
across the sky,
not sure where they are going
either.

(reprinted with the permission of the poet)

HAIKU-YOU

This is a series of 9 haiku poems. My favourite is the macabre:

my jacket
hung by the neck
until Spring

POLITICS, POLITICS

Here you’ll find four anti-Thump poems which reflect Burke’s alarm about “the joke” of a president America has elected, “who loathes his own constituents/ and is using the dumb-fucks/ to gain power/ in order/ to glorify his ego” (“Herr Trumpf”).

SPARE TOOTH

This last section is an eclectic mix of poems which include a portrait poem about a high school buddy (“Lou 1954-2016”), advice about life (“Advice”) and his family’s recollections of what Burke was like as a toddler (“Baby”).

Yet after you’ve read this section a number of times, you get the impression that these poems are meditations on the general malaise and hollowness of contemporary living. They chart Burke’s underlying discontentment with life, of feeling trapped by the fakeness of things (“Oasis”), where the allure of alcohol (“Drink?”), fast cars (“108 mph”) and women (“Knock Knock”) has largely waned. Burke sees himself as a “dumbfuck” (“Dumbfucks”) and driving in his car he feels a brooding, unshakable sense of ennui (“Straight”).

In the last poem in the collection “Spirit”, this unbearable sense of hopelessness and dread & loneliness briefly lifts:

Spirit

the spirit flew in
through the window
and down my
gullet:
I love it,
it tells me
that there is hope
that there is a future—
but the night, I said to the spirit
it is so dark,
and I am all alone;
and the spirit said that
it knows all about
the dark and
the lone,
and does not think much
of either.

(reprinted with the permission of the poet)

 As in his earlier work DICKHEAD, this is a varied collection of first person confessional poems. The book is structured roughly in terms of the chronological age in which Burke appears in them. The poems are easy to read and you have to admire Burke’s tenacity in getting this shit down. My only criticism is that although I do not require glasses to read, I found the font size (9) a tad small for my liking.








AN INTERVIEW WITH WAYNE F. BURKE 8 JULY 2017

I recently asked Burke a shitload of questions about his writing. The following is what he provided- the use of paragraphing is mine:

I started to try and write a poem when I was nineteen and at my 3rd college. My college roommate was the first guy I ever met who admitted to writing poetry. It was though his influence that I started to write verse--it was through him that I learned what I know of writing poetry, not from a professor or class I took though there was a high school English teacher and a professor at the first college I went to who were very encouraging. The English teacher is one of the dedicatees (oh boy) of A LARK. I did not write anything that I or anyone else recognised as poetry for four or five years. After I graduated from college, my 4th, I went to work and poetry got lost in the shuffle. Not completely forgotten, but kept on a back burner.

I started the series of jobs--I have written of--truck diver, labourer, janitor, dishwasher, cook, moving man, machine shop operator, store clerk, substitute school teacher, security guard, roughneck (worked on an oil rig), census taker, gas station attendant, and some others--orange picker, bartender--done before I graduated college. Jobs that someone in America with a degree in liberal arts is deemed qualified for. Six years ago, after working for 9 years as an LNA (Licensed Nurses Assistant), I went back to college and got a license to work as an LPN (Licensed Practical Nurse) an occupation I am still practicing. Whew. That's a long list. Makes me tired thinking of it. The work has given me subjects or/and anecdotes to write. It is part of my story--everyone has a story. It is what we have--all we have--that is essentially our own. In my late 50s, and occasionally before, I started to put down, as I understood it, MY story.

Do I make things up? On rare occasions, yea, but more in the way of exaggerations than lies. I mean, the poem is not a transcription of so-called REAL life, but an act of creation. It can go wherever the mind takes it. I am not writing autobiography though I use my life experiences as a sort of foundation or template or buoy maybe, something to anchor the imaginary stuff to. I feel I am getting off track, if I was ever on one, and have no business explaining my work. I am mystified myself about how it comes out, knowing only that it is work and persistence, writing something everyday, not a poem, but something, and applying myself with a will--I am going to have to read the thing, as well as whomever, when it, the thing, comes out in print.

My heart operation at 58 did not prompt me to start writing agin--I had started about a year before with a do or die attitude, that it was time, now or never--I had figured myself for a prose writer and scholar and critic but was only 2nd or 3rd rate critic, scholar, prose writer...I finally found the FORM, poetry and exploited it. Previous to late 50's I was an artist but without a form. I did publish 2 books of criticism, essays, short stories, and book reviews (which I continue to write), because that was my idea of what I was supposed to do as a sort of "gentleman of literature" to which I aspired, and still do to a limited extent. Someone like Ford Madox Ford or W.D. Howells or even Edmund Wilson, who were arbiters of taste and could kick out reviews, essays, novels, what-have-you, at a moment's notice...Oh boy, I've really gone off the track now. Unsure how to get back on...Some guy using a chainsaw outside my window, really ripping into the wood...