Inlämning bukowski
Sista dag för inlämning till auktionen är 20 oktober. Fifty-seven major books in fifty-seven years.
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For a thought-provoking, controversial writer who always seemed to be on a binge, Bukowski was prolific beyond words. Writing was both his disease and his crutch. Some of it was obviously dross, an exercise to get the good stuff going, but at his very best, Bukowski had a unique knack for squeezing magic out of the ordinary with unsurpassed simplicity. Legions of aspiring writers have tried unsuccessfully to emulate his artfully artless style.
For better or worse, Bukowski had little time for arcane metaphors, synecdoches, and iambic pentameters. His longtime publisher John Martin was entirely responsible for selecting, arranging, and editing the work that appeared under his Black Sparrow Press imprint; Bukowski read the proofs and green-lighted all projects, and Martin put them out.
Egregious editing is not the only issue when it comes to Bukowski. There are quite a few myths about him and his work, some of them fueled by the man himself, who got a kick out of deliberately blurring reality and fiction. To understand Bukowski fully, a quick look at a few excerpts is simply not enough. Translated into over twenty languages and with millions of copies of his books sold worldwide, Bukowski is a reliable steady seller: Some 10, copies of Essential Bukowski: Poetry are regularly sold per year in the U.
His critical reception is no small feat, either: over a thousand print books and articles are devoted to his work, not to mention hundreds of online reviews and almost anthology appearances, including some highbrow publications. Not bad for the soi-disant drunken bard of the underdog. One of his best-known quotations, printed in Life Magazine in when Bukowski was almost seventy, perhaps explains his appeal to the ever-rebellious nature of the youth:.
We are here to unlearn the teachings of the church, state, and our educational system. We are here to drink beer. We are here to kill war. We are here to laugh at the odds and live our lives so well that Death will tremble to take us. The book that began it all—most publishers and editors discovered Bukowski here. An early milestone by all accounts, full of lyrical imagery, so scant in later years. Raw and poetic, even surreal at times, it was praised to the skies by Henry Miller and other writers.
Williams, Celine, and Artaud. The underground legend was born here. Crucifix in a Deathhand , Loujon Press, Another lavishly produced book by the Webbs. Unlike It Catches , all poems were new; Bukowski wrote the bulk of them during a very hot month in New Orleans. Most poems had been previously rejected by little magazine editors and were rescued by poet John Thomas, who had recorded them on tape. This and the next book propelled Bukowski into small press stardom, becoming the indisputable King of the Underground—as an unwanted side effect, the FBI began to monitor his activities and publications.
The 28, copies of the first printing were sold out in months. It was translated into German the next year, getting favorable reviews in major newspapers. Reissued by City Lights in Presented by bibliographer Sanford Dorbin and Martin as a retrospective exhibit of the strongest poems published in the little magazines. Sensitive, lyrical, with some tough-guy imagery thrown in, making it accessible to the layman.
Post Office , BSP, After a couple of failed attempts— A Place to Sleep the Night and The Way the Dead Love —Martin prodded Bukowski into writing his first novel on the hunch that his fiction would sell even better than his poetry. It was easy. A script was completed by writer Don Carpenter in , but the movie was never made. Essential: the scenes with Joyce. Bukowski at his most provocative: pages full of grimy, sleazy, angst-ridden stories about necrophilia, pedophilia, and bizarre sexual encounters culled from the underground press and girlie magazines—the close-up photograph of an acne-disfigured Bukowski on the cover is foreboding enough.
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Fields on paper, a joyous cocktail of shock-value material and entertaining musings on the human condition. Laughter through tears, as Gogol would say. Storie di Ordinaria Follia , shot by Italian cult director Marco Ferreri, was released in to mixed reviews. Much like Erections , this is a collection of stories taken from the underground press and the erotic outlets. I like desperate men, men with broken teeth and broken minds and broken ways.
Martin rescued here the best poems from It Catches , Crucifix , At Terror Street , and included a few recent efforts as well as an introduction by Bukowski himself.