What matters most is how well you walk through the fire
(Book)
Charles Bukowski's gamble in art was as prolific as it was audacious. The second in Black Sparrow's series of posthumous volumes of Bukowski's poetry takes us deeper into the raw, wild vein that extends from the early 1970s to the 1990s. As in Bone Palace Ballet (1997), Buk here observes the world with an "unadorned self-awareness" (Publishers Weekly) that makes each poem "a little nugget of roughneck-intellectual autobiography or attitude" (Booklist). The courage, candor, humor and human understanding of Bukowski's poetry commingle to create a kind of intuitive contact and gut wisdom not found in Western verse since Francois Villon.
Notes
Bukowski, C. (1999). What matters most is how well you walk through the fire. Santa Rosa, CA, Black Sparrow Press.
Chicago / Turabian - Author Date Citation (style guide)Bukowski, Charles. 1999. What Matters Most Is How Well You Walk Through the Fire. Santa Rosa, CA, Black Sparrow Press.
Chicago / Turabian - Humanities Citation (style guide)Bukowski, Charles, What Matters Most Is How Well You Walk Through the Fire. Santa Rosa, CA, Black Sparrow Press, 1999.
MLA Citation (style guide)Bukowski, Charles. What Matters Most Is How Well You Walk Through the Fire. Santa Rosa, CA, Black Sparrow Press, 1999.
Record Information
Last Sierra Extract Time | Apr 21, 2024 08:02:46 AM |
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Last File Modification Time | Apr 21, 2024 08:03:12 AM |
Last Grouped Work Modification Time | Apr 27, 2024 06:08:07 AM |
MARC Record
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505 | 0 | 0 | |t My father and the bum --|t Legs, hips and behind --|t Igloo --|t Mice --|t My garden --|t Legs and white thighs --|t Mademoiselle from Armentieres --|t My father's big-time fling --|t Bakers of 1935 --|t People --|t Pretty girl who rented rooms --|t Too soon --|t Canned heat? --|t Pershing Square, Los Angeles, 1939 --|t Scene from 1940 --|t My big moment --|t Daylight saving time --|t Railroad yard --|t Horseshit --|t Man's best friend --|t Sensitive, young poet --|t Hunger --|t First one --|t Night I saw George Raft in Vegas --|t No title --|t Too many blacks --|t White dog --|t Blue beads and bones --|t Ax and blade --|t Some notes on Bach and Haydn --|t Born to lose --|t Phillipe's 1950 --|t In the lobby --|t He knows us all --|t Victory! --|t More argument --|t Wind the clock --|t What? --|t She comes from somewhere --|t Lifedance --|t Bells --|t Full moon --|t Everywhere, everywhere --|t About a trip to Spain --|t Van Gogh --|t Vallejo --|t When the violets roar at the sun --|t Professionals --|t The 8 count concerto --|t An afternoon in February --|t Crickets --|t Angel who pushed his wheelchair --|t Circus of death --|t Man? --|t Christmas poem to a man in jail --|t Snake eyes? --|t My friends down at the corner --|t Smiling, shining, singing --|t Bruckner --|t This moment --|t One more good one --|t You do it while you're killing flies --|t The 12 hour night --|t Plants which easily winter kills --|t Last poetry reading --|t Probably so --|t Assault --|t Raw with love --|t Wide and moving --|t Demise --|t Pact --|t 75 million dollars --|t Butterflies --|t 4 Christs. |
520 | |a Charles Bukowski's gamble in art was as prolific as it was audacious. The second in Black Sparrow's series of posthumous volumes of Bukowski's poetry takes us deeper into the raw, wild vein that extends from the early 1970s to the 1990s. As in Bone Palace Ballet (1997), Buk here observes the world with an "unadorned self-awareness" (Publishers Weekly) that makes each poem "a little nugget of roughneck-intellectual autobiography or attitude" (Booklist). The courage, candor, humor and human understanding of Bukowski's poetry commingle to create a kind of intuitive contact and gut wisdom not found in Western verse since Francois Villon. | ||
600 | 1 | 0 | |a Bukowski, Charles.|0 https://id.loc.gov/authorities/names/n79091866 |
650 | 0 | |a American poetry|y 20th century.|0 https://id.loc.gov/authorities/subjects/sh85004387 | |
650 | 0 | |a Poetry, Modern|y 20th century.|0 https://id.loc.gov/authorities/subjects/sh85103727 | |
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