15 melhores poems by Charles Bukowski, translated and analyzed

Charles Bukowski is two of the most controversial and also the most beloved of North American literature. Popularly known as "Velho Safado", he deixou various compositions on sexuality and also on human condition.

Find, below, the 15 most famous poems by the author, translated and analyzed.

1. Or go blue

ha um pass it blue em meu peito que
I want to sair
more hard too much like it,
I say, fique aí, no deixarei
that no veja.

ha um pass it blue em meu peito que
I want to sair
more eu clearance uísque on ele and inalo
cigarette smoke
you are whores and you attendants two bars
e days mercearias
I will never know what
he is
la inside.

ha um pass it blue em meu peito que
I want to sair
more hard too much like it,
eu i say,
fique there, I want to finish
eat
quer foder com minha
written?
I wanted to ruin to sell two meus livros na
Europe?

ha um pass it blue em meu peito que
I want to sair
but I am quite knowledgeable, I say that she saia
somebody in some noites
when everyone is asleep.
I say, I know you're there,
then no fique
sad.

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I depois or I place of volta in its place,
more ele ainda sings um pouquinho
Inside, I don't let him die
completely
and we sleep together
assim
com nosso secret pact
e isto é bom o enough to
fazer um homem
chorar, more eu não
woolly, e
you?

(Translation: Paulo Gonzaga)

This is, sem dúvida, one of the two most famous poems by the author and the one whose translation arouses the most interest together with the Portuguese language public. The title itself is loaded with symbols: the imprisoned animal, caged in seu peito, seems to represent an attempt to control emotions. Já a cor azul reminds for the feelings of sadness, melancholy and depression.

Falando desse "pássaro azul", or lyrical subject seems to symbolize the feelings that I keep hidden because he is "hard too" with himself and does not allow himself to appear fragile years old. By isso, repress your emotions, he was distracted by alcohol anesthesia, casual sex, and repetitive nightlife dinners.

Their interactions as other superficial ones, based on monetary interests (bar attendants, prostitutes). It is evident in the absence of intimidation, partilha, laços and also a vontade do subject to hide. With deep relationships, he becomes convinced that others "never know" what he's feeling.

Assim, luta with himself, tempting oppose own fragility, proving that it will be to their ruin, affecting the written quality and, consequently, the sale of books.

Assuming himself as an author, as a public figure, he makes it clear that he needs to keep appearances, correspond to expectations, regardless of his state of mind.

In this context of self-censorship, it only allows sadness to manifest itself during a night, enquanto or rest of the sleeping world. There, finally, he can acknowledge his partner, maintain an inner dialogue and, in a certain way, make peace as his heart.

During a night, he succeeds in comforting, calming or despairing, keeping his "secret pact". Carregando or sofrimento sozinho, sem a possibility of or divide with no, or subject to find a poetry a way of communicating, a vehicle that allows a deflection.

Likewise, not the last verses, he turned to stand on the facade of indifference perante or world, also affirming his incapacity to manage and condemn his own sadness: "mas eu não / choro, e / você?".

2. O heart risonho

His life is his life
I do not say that it is frosted in a cold submissive.
Stay tuned.
There are other paths.
And somewhere, there is still light.
It can not be very light, but
Ela beats Escuridão
Stay tuned.
You are going to offer opportunities.
Reconheça-as.
Grip-ace.
You can't beat death
but you can beat death during life, at the same time.
E quanto mais você learn to fazer isso,
more light will exist.
His life is his life.
Conheça-a enquanto ela ainda é sua.
You are wonderful.
You wait to be delighted
em você.

As the title suggests, this is a composition that draws a positive message, of encouragement, to quem lê. Speaking in favor of autonomy, self-determination and status of each um, or subject, he addresses the reader. He recommends that you not give in to "cold submissiveness": as rules of conduct, expectations, norms that to sociedade impõe.

At the time of the passing of life, he states that there is the possibility of following "other paths" and he repeats about the need to be "attentive" and not alienated or detached from everything.

In spite of the difficulties of the real world, or little subject accredits that there is still some light, a hope that "beats escuridão".

He goes longer, affirming that "you deuses" you will help, creating opportunities, and that it is up to each one to recognize them and take advantage of them. Even knowing that it is final and unavoidable, he sublimates that it is necessary for us to assume the demands of our destiny in time, "to overcome death during life.

It also shows that I strive for a positive vision of reality can help me and that how much more we will tempt, "more light will exist". You two final verses, contudo, relembram to urgency desse process. Life is passing by and the same deuses that protect us now, will devour us at the end, like Cronos, deus do tempo na grega mythology, who ate his filhos.

3. Sozinho with everyone

to meat copper osos
e place a mind
ali inside e
sometimes it's a soul,
e as women broke
glasses against the walls
e os homem bebem
demais
and no find
ideal pair
more seguem na
seek
scratching in and out
two leitos.
to copper meat
ossos e a
meat seeks
much more than mere
meat.

of fato, no ha qualquer
chance:
we are all prisoners
to a destination
singular.

no i never found
or ideal pair.

as lixeiras da cidade is completed
The ferros-velhos are completed
the hospices were completed
the graves were completed

nothing else
is completed.

(Translation: Pedro Gonzaga)

Nesta composition, Bukowski regrets solidão inevitável do human being, that he felt deeply isolated himself living in society. Feito of "meat", "mind" and "some times a soul", or individual is tired, defeated pela impossibility of love and his eternal disagreements.

This collective frustration face how the little subject represents the women as being always wandered and the homens always drunk, because "no match or ideal pair". Likewise, I insist and continue "scratching in and out for two leitos."

I do not seek just or physical contact more, above all, in the vicinity: "meat seeks more than meat." For isso, all are condemned to sofrer, ha that "no ha qualquer chance". O eu lrico deixa patent to his total descrença and pessimism.

Regretting, refer to free and ferrous-velhos where the objects inúteis are gathered. Then he remembers that among human beings, as soon as the loucos and the dead are close, "nothing else is completed." Ou seja, all those who are alive and supposedly alone, fulfill the same destiny: to be "sozinho with everyone or the world."

4. So you want to be a writer

I know not from you to explodir
despite everything,
não or faças.
Unless you know what to ask of you
heart, give your head, give your mouth
you give up,
não or faças.
I was tense that sitting hours
to olhar for a computer ecrã
ou curved over you
escrever machine
seeking thus words,
não or faças.
se o fazes by dinheiro ou
fame,
não or faças.
I know or faces for you
women in your bed,
não or faças.
I know that you sit and
rewrite one and another time,
não or faças.
work is done just to think about it,
não or faças.
it is tempting to screver like other screveram,
não or faças.

You have to wait for me to come out of you
to scream,
So wait patiently.
I will never leave you to scream,
face outra coisa.

It is tens that or first to your woman
ou namorada ou namorado
ou country or what do you want me to do,
you are not prepared.

don't look like many writers,
do not feel like thousandhares of
people who considered themselves writers,
não sejas flat nem hated and
pedantic, do not consume yourself with self-devotion.
as libraries around the world têm
sketch tied
lull
How does your species give you?
no sejas mais um.
não or faças.
unless saia gives
your soul like a missile,
unless or stand
te leve à loucura ou
year of suicide or murder,
não or faças.
unless there is sun inside of you
you burn your guts,
não or faças.

when checking the same height,
e be foste escolhido,
it will happen
in case it will continue to happen
I tied that you die or die in you.

There is no other alternative.
e never houve.

(Translation: Manuel A. Sundays)

This is two moments in which Bukowski uses his poetic work to communicate directly with other writers of his tempo, mainly those who admire and follow his work.

Seen as a teacher for many who are beginning his career in literature, he fails as future writers and gives some recommendations for your work to remain relevant. Make it explicit that a breeding must not be forcedIt cannot be an arduous and repetitive work.

On the contrary, I was afraid that it would be something that "came out of you to explode", "das entrahas", "sem perguntar". It is not written for a natural coisa, "that came out of you to scream", "like a missile", or little subject accredits that it is not worth tempting.

Nesse case, it hardly recommends that you desistam: "não o faças", "faz outra coisa", "you are not prepared". Sublinha adds that dinheiro, fame and popularity are not valid motivations to enter the world of literature.

Also take the opportunity to give your opinion about the colleagues of the profession, stating that they are flat, pedantic and self-centered. To squeeze out his abhorrence or contemporary literary panorama, he uses personification, transforming libraries into people by sketching.

Na his vision of him, written not an escolha, but something necessary, vital, unavoidable, sem or qual ponderaria or "suicide". Okay, then, wait for a certain moment, which will come naturally to you who are "escorted".

5. How is your heart?

during my first moments
us banks of praça
nas cadeias
ou living with
whores
eu always tive um certo bem-estar -
eu não jacket of
congratulations -
It was more something like a balance
internal
that he would be happy with
or what do I want you to be running?
e ajudava-me nas
factories
When are you relationships?
no davam certo
com as
mulheres.
ajudou-me
through
you give wars and days
hangovers
As brigas em scholarships
you
hospitais.
agree to a cheap room
numa city estranha e
open the curtains -
Esse era or mais louco type of
contentment.

e walk chão hair
I tied uma pia velha com um
gusty spelho -
see myself, ugly,
with a long smile before you did here.
or what else does it matter?
What are you?
hair truck
fire.

(Translation: Daniel Grimoni)

"How is your heart?" It is a shocking poem logo hair title, that questions or read, raising-or to think how much he is feeling. It's about um hino à resilience, with the ability to find satisfaction or happiness at our previous moments of life. It is difficult for us episodes that either you passouito, no work, no cadeia, no war or no end of a relationship, he can always count as an "internal balance" that is safe.

Despite all the obstacles, I always managed to stay animated with simple things, like "opening the curtain." Essa joy that does not demand anything in exchange It is described as or "more louco type of contentment". The same in a cheap room, see or reflect on your face "ugly, like a long smile" and it is oiled, it oiled to reality like it.

Assim, reflect on or your way of being in life. Emphasize that or what matters is "quão bem você caminha pelo fogo" ability to overcome obstacles, same you piores, sem to lose to joy and to vontade de viver.

6. A love poem

All women
all beijos delas as
varied forms like breast
falam e carecem.

suas orelhas elas todos têm
orelhas e
throats e dresses
e sapatos e
automobile and ex-
husbands.

mainly
as mulheres são muito
that they woke me up
torrada loverigada com a manteiga
melted
nela.

there has been an appearance
no olho: elas foram
taken, foram
deceived. I'm not the same or what
fazer by
elas.

sou
um bom cozinheiro, um bom
ouvinte
but I never learned to
dance - eu was busy
com coisas majors.

The more you had a variety of beds
la delas
smoke a cigar
olhando proteto. I was not harmful nem
dishonest. just um
apprentice.

I know that all of you pés e cruzam
barefoot hair assoalho
when I observe your shy bundas na
gloom. I know I gostam from my algumas I tied
I loved
more eu I love umas
poucas.

some gave me laranjas and vitamin pills;
other falam meekly gives
childhood and country
paisagens; algumas são quase
malucas more nenhuma of them
devoid of meaning; some amam
bem, outras nem
so much; as melhores no sex nem semper
são as melhores em
other things; all you have limits like eu tenho
limits and we learn
quickly.

all as women all as
women all of you
sleeping quarters
the rugs as
pictures as
curtains, all more or less
like uma igreja only
it is rarely ouve
a laugh.

essas orelhas esses
braços esses
cotovelos esses olhos
olhando, or afeto e a
carência me
sustain me
sustain.

(Translation: Jorge Wanderley)

Embora this seja a "love poem", not a recipient, not a companion or applicant for which subject is declared. It is about a composition intended for "all the women" with whom he relates.

From the second stanza, sowing two feminine figures, he began to enumerate parts of the body, pieces of roupa, existing objects in our rooms. Impressed that there are only flashes, random moments that arise in your memory of him.

Fala also give the experiences of women, of their past, suggesting that they are all similar, that they require some form of salvation.

Comparing his bodies to pieces of pão, and facing them as objects that he needs to eat, consume, he declares that he was never a mere "apprentice".

Just as he has loved "only a few" and has lived unrequited or fugitive relationships, he assumes that they are what or "sustain". Ainda que fossem superficialiais, those moments of intimidation and partilha It was my tudo or that or little subject to wait.

7. Confissão

Waiting for death
like a cat
what am I going to do
na bed
I feel very sorry for
minha mulher
she will see this
corpo
I rule and
white
vai shook it maybe
shook it de novo:
hank!
and hank I am not going to answer
não é minha morte que me
worries, é minha mulher
deixada sozinha with this mountain
of coisa
nenhuma.
not so much
I want her to
know
to sleep all the nights
by your side
the same way
discussões mais banais
eram coisas
really splendid
e as words
hard
I always have half of
dizer
We can now be ditas:
eu te
love.

(Translation: Jorge Wanderley)

As someone who confesses moments before dying, or poetic subject finally manages to express his anguish and emotions. Feeling that to die I will check in briefly, like a "cat polishing in bed", he is waiting for her, calm and conformed.

Your major concern no end of life É com a mulher, que vai sofrer quando find o seu body of her and ficar viúva. Feeling that he has nothing to lose, that he does not need to keep segregated, declare or his love for him, Recognizing that as coisas triviais that fizeram together foram or melhor que viveu.

Agora, not end of life, he openly believes that he always has "half of saying" and of feeling: "I love you."

8. Poem nos meus 43 anos

finish sozinho
no mound of um quarto
sem cigars
nem drink—
it lacked like a lamp,
potbellied,
grisalho,
and happy for ter um quarto.
… By manhã
this is the fora
ganhando dinheiro:
Juízes, carpenters,
charmers, doctors,
day laborers, guards,
barbeiros, car washers,
dentists, florists,
garçonetes, cozinheiros,
taxi drivers ...
and you turn
for the side to hit the sun
the coasts and não
direct us olhos.

(Translation: Jorge Wanderley)

TO defeatist stance do little physical evident from or começo do poem. At the same time I am only 43 years old, he does not age as he lives a lot of life. On the contrary, he compares or seu quarto to a tumulus, as he is still dead, "sem cigars nem drink."

Isolated from the rest of the world, reflect on yourself, concluding that it is old and neglected. In addition, he is "happy for the fourth time", maintaining his spirit of gratitude remaining or whatever, to his ability to be satisfied with little.

Fora do seu espaço, there is um direct contrast with a company, represented as productive and functional. Everyone is on the road, fulfilling as suas obrigações, "ganhando dinheiro".

Já or little guy seems to have given up fighting, show passivity and indifference, turning the coasts for the rays of sun that entered the janela.

9. Stranded

Bem, they say that everything would end
assim: velho. or lost talent. tateando to the blinds looking for
give word

ouvindo you passos
na scuridão, volto-me
to olhar behind me ...

ainda não, velho cão ...
logo in brief.

agora
they sat faking about
mim: “sim, it happens, ele já
was e
sad…"

"I've never been very much, no
same? "

"Bem, no, more agora ..."

agora
they celebrate minha overthrown
in taverns that have been very much já não
frequently.

agora
I drink sozinho
next to that machine that bad
works

enquanto as shades assumem
shapes

I fight retreating-me
slowly

agora
minha antiga promessa
definha
definha

agora
lighting new cigars
served more
drinks

I've been um belo
combat

ainda
é.

(Translation: Pedro Gonzaga)

Em "Encurralado", the poet seems to address or his current state of mind and the phase of life in which he is not at the moment when he believes. Em decliniumHe knows that the others await his ruin on him, guess and comment that "everything would end up like that."

A prophecy is being fulfilled: he is sozinho, velho, his career is stopped and his talent seems lost. Paranoid, imagine here that I would be saying about him, think of them who celebrated his "overthrow" of him.

Assim, stop frequenting the bars and taverns, drink sozinho with your escrever machine, find out the promise of your "definha" talent daily.

Face life as "um belo combat" and assume that keep fighting. In spite of feeling "stranded", or a poetic subject, he is within reach to protect himself from the mouths of the world.

Oiling or exile as the only path that remains, or writer is afasta das luzes da ribalta: "I fight by retiring-me."

10. Outra bed

another bed
other mulher

more curtains
other banheiro
outra cozinha

other olhos
other hair
other
feet and fingers.

all to try.
to eternal search.

you're in bed
she dressed for work
and you wonder what happened
last
e à outra before dela ...
é tudo tão confortável -
esse fazer love
esse sleeping together
to soft delicacy ...

após ela sair você gets up and uses
or banheiro dela,
It was so intimidating and strange.
You return to bed and
sleep more an hour.

when you're going to be sad
but you will see again
want to work, dear não.

você directs até to praia e fica seated
em seu car. é mid-day.

- outra cama, outras orelhas, outros
jumps, other mouths, other chinelos, other
dresses
cores, ports, telephone numbers.

Você foi, one time, strong enough to live sozinho.
for um homem beirando os sixtieth you should be more
sensible.

You give the game no car and engage first,
thinking, you will phone for janie logo to check,
not old since sixth-fair.

(Translation: Pedro Gonzaga)

Neste poem, or lyrical reflection about two seus cyclical, repetitive movements, in search of companhia and sex. It lists beds and women, household objects and parts of the body as those who have crossed over the course of the road.

Here is what motivates and also moves their companions to "eternal search": there are "all to seek" of affection and love. Essa intimidation provisional é confortável, plus logo regressam à mesma ânsia, sentem or vazio de semper.

Na manhã next, after sex, he thinks about old companions and how they will end up disappearing from his life. Listing objects and bodies one more time, maybe how the images are mixed, or subject seems to indicate that these women are like places where it is from passagem.

Depois de leaving o local, he fica refletindo not car, thinking about her behavior and being censored. He deixou to be "strong enough to live sozinho", he depends on attention alheia to feel melhor.

Around sixty years of age, he considers that "it should be more sensible" to maintain youth behaviors. When he turned to direct, he followed or walked as he knew nothing happened, thinking of Janie, in love that he has not seen in a few days.

11. Quatro e meia da manhã

you barulhos of the world
com passarinhos vermelhos,
são quatro e meia da
manhã,
são always

quatro e meia da manhã,
e eu escuto
my friends:
you free
I thieves
e cats sonhando com
minhocas,
e minhocas sonhando
ossos
do meu love,
I can't sleep
e logo will love,
the workers are going to get up
and they are going to procure for myself
I am not ready and I will say:
"Ele tá bêbado de novo",
more I will be asleep,
finally, you don't give me jugs and
gives sunlight,
all draining finished,
open arms like
uma cruz,
you passarinhos vermelhos
flying,
flying,
roses opened I do not smoke and
like something out of place
and healing,
like 40 pages of a ruim romance,
um sorriso bem na
minha idiot face.

(Translation: Jorge Wanderley)

Nesta composition, entitled "Quatro e meia da manhã", we can feel or spirit of vigil the poetic subject, agreed upon in the rest of the sleeping world. In the early morning hours, he writes about the extreme solidity in which he lives.

He confirms that he is constantly imprisoned nessa sensção de distance and alienation perante or rest of the world, affirming that "são semper quatro e meia da manhã". His only companions are those who are also agreed at the time: you bugs, you free, you bandits.

Guessing how it will be the next day, he knows that he will miss a job, and he will not be ready and everyone will comment that "tá bêbado de novo". OR excessive alcohol consumption It led to a higher isolation and also a lack of capacity to fulfill your duties.

Só depois depois do sol nascer, fallen no chão between the carafes, with the arms stretched like "a cross". In the image it seems to recreate the relief of Jesus, we see his final moments. Tudo em volta é dysphoric, sad, I tied the same roses seen as holidays.

Em meio to all or chaos, continue to creep, even if it is "um ruim romance". Perante to ruin and in the absence of control, preserves or the same "idiotic smile" that so many times or sure.

12. Uma palavrinha on the fazedores
of fast modern poems

it's so easy to look modern
when he is the greatest idiot ever born;
eu sei; eu joguei fora um horrível material
but not as horrível as or that read nas magazines;
eu tenho uma honestidade interior born of whores and hospitais
that you won't let me pretend that I am
uma coisa that no sou -
or what would be a double failure: or failure of a pessoa
na poetry
e o failure of a pessoa
na life.
and when you miss the poetry
you miss life,
and when you miss your life
you never born
I don't care or don't care that your mother is lhe deu.
as arquibancadas are cheias de mortos
cheering a winner
waiting for a number to load you from volta
for life,
but not so easy assim -
just like no poem
you are dead
you could also be buried
play fora to the escrever machine
e stop cheating com
poems cavalos mulheres a vida:
você is encouraging saída - portanto saia logo
and give up
precious poucas
pages.

(Translation: Jorge Wanderley)

One more time, Bukowski criticize poets do seu tempo, directly failing like them. Commenting on the literary panorama of the time, he points out that "it is very easy to look modern" when he is an idiot, ou seja, that or absurd is happening as innovation.

Next, he affirms that he kept "interior honesty" about the quality of his work. By isso, he ruled out here that he knew he was ruim, instead of pretending like his contemporaries. He vai mais longe: he considers that failing in poetry is like failing in life and that, for isso, he has never been born.

Turning or seu olhar for the public and the critics, he affirms that thus "arquibancadas are cheias de mortos" waiting for some coisa "that will swallow you wholeheartedly." O subject accredits that a poem is not redeeming character, is not worth anything.

Assim, he recommends his companions to desist, "play for the escrever machine", stating that poetry should not serve as a trick, a form of distraction or escape from real life.

13. Those garotas that we followed tied at home

not ensino medium as duas garotas more beautiful
I was more like Irene and
Louise:
Irene was um ano mais velha, um little more high
but it was difficult to escort between
as duas
They weren't just pretty anymore
hideously cute
so cute
that you garotos mantinham-se longe:
tinham medo from Irene
e Louise
that nothing was inaccessible;
I tied the same more friends than a majority
more
What seemed to be dressing a little
different days other garotas:
always use me jump high,
blusinhas,
saias,
acessórios novos
every day;
and
late
meu parceiro, Baldy, e eu
This is how we continue to school
I tied at home;
You see, we were like you
marginais do pedaço
so isso já was something
more or less
expected:
walking for one or two meters
behind them
we don't say anything
just like that we continue
watching
or seu voluptuous gingar,
or balanço de suas
haunches.

we love so much that
let's move on to follow-I tied them at home
everything
day.

when they enter
we signed the fora na calçada
smoking and talking

"Um dia", eu disse a Baldy,
"Elas vão chamar us to
enter and go to trade
eat people "

"Do you really credit nisso?"

"Sure"

agora
50 years of age
eu posso te dizer
that they never chamaram
- it doesn't matter all the stories
that we are counting garotos years;
sim, um sonho
What do you want to follow?
na time and you face to follow
agora.

(Translation: Gabriel Resende Santos)

With this poem, or lyrical eu it remarks the tempos of adolescence. Na school, there are two more irms that seemed to intimidate you garotos, because they were not "acessíveis" or "amigáveis".

Either a little guy and a companion of him, who were troublesome young people, you "marginais do pedaço", come after I tied them home. Depois que elas entravam, ficavam standing na porta, waiting. She affirms that she accredits that, one day, they will go to chamá-los and make sex like them.

No moment in writing, "50 anos depois", he knows that this never happened. Still, he continues to find it necessary and important to credit this. Like "um sonho" that or incentivou not passed and that or "face to follow now", accredit not impossível feeds their hope.

Sendo já um homem lived, he appears as um eternal garoto, as the same way of seeing the world. In this way, he continues to move his hair from the carnal and contrary to logic and to vontade alheia, em nome gives his vontade of him.

14. How to be a great writer

You have to climb with a large number of women
beautiful women
and write a few decent love poems.

don't worry about going
e / ou as fresh and newly awarded talents;

just drink more beer
more and more beer

e vá às cumshots hair less once per
week

e win
be possível.

learn to overcome is difficult -
Anyone who is frouxo can be a loser.

and it is not seen from Brahms
e do Bach e também da sua
beer.

Do not exaggerate, do not exercise.

durma tied or midday.

avoid credit cards
ou pay any account
not prazo.

lembre-i know nenhum dick no world
worth more than 50 pratas
(em 1977).

and you have the ability to love
love yourself first
more thisja always alert for the possibility of a total defeat
same as reason for this defeat
It seemed true or wrong

A precocious taste of death is not necessarily one more thing.

fique longe of igrejas and bars and museums,
e like aranha seja
patient
or time is everyone's cross
more or
exile
to defeat
to traição

all this esgoto.

fique with beer.

a beer or continuous sangue.

a continuous lover.

I started a big scrubbing machine
and as well as the passes that sobem and descend
on the side of outside of sua janela

gown in machine
robe forte

faça disso um heavyweight bout

face like or touro no moment of first attack

e lembre dos velhos cães
what brigavam tão bem?
Hemingway, Céline, Dostoyevsky, Hamsun.

you think that they are not ficaram loucos
In quarters open
assim like this em what now are you

sem mulheres
sem food
sem hope

então você não is soon.

drink more beer.
ha tempo.
I don't know
it's all right
also.

Based on various criticisms of the conduct of other authors, this composition seems to be a kind of "poetic art" by Bukowski, full of irony. Nela, he disbelieves what he considers essential for a hometown of letters.

He began by determining that being a writer should be more than a profusion: he had to be um lifestyle, marginal e fora das convenções. It certifies that it is necessary to go through many experiences to find out about or to save.

He also defends that, to make love poems, you need a lot of sex, preferably with a lot of different people. Living irregularly, in foreign hours, writers must take care of themselves as alcohol or games.

He recommends that you avoid toxic places for breeding, such as churches, bars and museums and that you are prepared for a "total defeat" at any moment. He sublimates that we need to be patient, resilient, to support or "exile" and "traição" that surrounds you.

Assim, he accredits that to be a great writer, it is necessary for an individual to separate himself, to occupy the rest of the world and to save himself for no more than four years.

When writing a machine, I need "bata forte" to treat poetry as a "heavyweight fight." In this way, he determines that in order to save he must have force, energy, agressividade. As "o touro" that moves by instinct, responding to attacks, or writer deve Escrever with fúria, I return to the world.

Finally, he pays homage to "velhos cães", authors such as Hemingway and Dostoyevsky, who influenced him deeply. He uses his examples to show that great geniuses also end up loucos, lonely and poor, for the love of literature.

15. Or Estouro

demais
tão pouco

so fat
so lean
ou ninguém.

laughs ou
tears

obnoxious
lovers

estranhos com faces like
heads of
tachinhas

armies running through
from ruas de sangue
brandindo carafes of vinho
dancing and fucking
virgens.

ou um velho num quarto cheap
with a photograph of M. Monroe.

ha tamanha solidão no mundo
that you can see it, no slow movement two
arms of um relógio.

you are so tired
mutilated
both love hair and heartbreak hair.

As people simply do not são boas umas com as outras
face to face.

The rich are not good for the rich
The poor are not good for the poor.

we are eaten.

our educational system told us that
we can be all
big winners.

They won't tell us
I respect you miseries
or two suicides.

ou do terror by uma pessoa
sautéing sozinha
num place qualquer

untouched
incommunicable

watering a plant.

as pessoas não são boas umas com as outras.
as pessoas não são boas umas com as outras.
as pessoas não são boas umas com as outras.

I suppose it will never be.
I don't want to sejam.

more than once is eu thought about
isso.

as you count two rosários balançarão
as nuvens cloud
e o assassino will demolish criança
How to get rid of a bite numa casquinha de sorvete.

demais
tão pouco

so fat
so lean
ou no

more hateful than lovers.

as pessoas não são boas umas com as outras.
maybe it is the fossem
nossas mortes não seriam tão sad.

enquanto isso eu olho for as jovens garotas
talos
flowers of any chance.

I'm afraid I will have to walk.

with certainty you have to see a path on or what ainda
we don't think.

What did I put this brain inside of me?

ele chora
demand
He said there was a chance.

he will not say
"No".

This poem, or subject, comments on a society of contrasts, of identities in contact and confrontation in which he is inserted. TO complex of human relationships It transforms individuals into "hateful lovers" and groups of young people seem to be "exércitos" carrying carafes of wine.

I do not lose sight of the daily war scene, it arises from the image of a homeless person, a poor room, olhando a photo a photo of Marilyn Monroe. A passagem seems to symbolize or future of uma Humanity disconnected from itself, hopelessly abandoned and skewed.

Perceiving the enormous solidity of the world with each passing second, I concluded that all the people are tired, "mutilated" both love hair and lost hair. For this reason, it is not treated as well, "not so much as others."

Trying to bet on the reasons for what happens, I concluded that "we are eaten", let us grow, believing that we would all be victors. Suddenly, we perceive that we can fry, live in misery, and do not have anything to communicate isso.

Resigned, he knows that as people "never will be" melhores and affirms that he does not expect them to change. However, it was achieved fazê-lo, as "mortals are not so sad."

When he hypothesizes an assassin to kill a child as he bites a sorvete, we realize that he does not accredit any possible salvation. He is convinced that we will destroy ourselves for another year, through nossa ânsia e maldade.

Some verses depois, however, the idea seems to dissipate in your mind. When you see some beautiful garotas, you fear that "I fear that there will be a path", some solution for human decadence.

Frustrated with himself, e com a sua hope teimosa, he regrets or his brain that questions, insists, "chora", "demands" and refuses to give up, despite everything.

About Charles Bukowski

Henry Charles Bukowski (August 16, 1920 - March 9, 1994) was born in Germany and moved to the United States of America, as a country, three years after his arrival. His childhood and youth in the suburbs of Los Angeles were marked by the presence of an authoritarian and abusive country, poverty and exclusion.

Author of romances, poems and roteiros de cinema, Bukowski wrote about the world he knew, printing um autobiographical character evident in his literary production.

Famous hair with realism cross and colloquial linguistic, written by a writer and crossed by references to heavy physical work, bohemian life, sexual adventures, alcohol consumption.

While home to the proletarian class, it was synonymous with representativeness for a part of North American society, which was related and identified as the author. On the other hand, as a successor writer, he had long critiques of his professional companions, an editorial year, and a public audience. O seu tom inflamed of him, of constant provocation, valeu or label of "cursed writer".

Assim, he ended up turning an icon, a cult author for several generations of readers. Curious about Bukowski, he barely peeled off his work but also peeled his figure, which broke the rules of behavior of the time.

In a disgraceful way as he scribes about sex and his obsession, many times he is misogynistic, for women, fizeram like he is popularly known as "Velho Safado".

This title, however, is quite reductive. Through his writing, he mainly gives poetry, or the author of his voice to various anguish that corrode or common individual as solidão, or pessimism and eternal search for love.

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