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PORTIONS FROM A WINE-STAINED NOTEBOOK

UNCOLLECTED STORIES AND ESSAYS, 1944-1990

Not for novices, but a welcome addition to Bukowski’s growing library.

More posthumous uncollected prose from the Dirty Old Man.

Calonne (English/Eastern Michigan Univ.; William Saroyan: My Real Work Is Being, 1983, etc.), who previously edited a volume of Bukowski’s interviews, digs up a few more fragments from the author’s vast—and scattershot—oeuvre. As with many “uncollected” selections, the results are a mixed bag, but Bukowski’s gruff directness and take-no-crap attitude shine through. Discussing his style in “Basic Training,” he writes, “I hurled myself toward my personal god: SIMPLICITY. The tighter and smaller you got it the less chance there was of error and the lie. Genius could be the ability to say a profound thing in a simple way.” Certainly, much of Bukowski’s genius lay in his plainspoken, immediate, self-assured prose, but his constant attack on the literary establishment also earned him accolades—and scorn—from fellow writers and critics. He held special contempt for pretentious elitists, those, as Calonne eloquently notes in his illuminating introduction, “who tried to domesticate the sacred barbaric Muse: the disruptive, primal, archaic, violent, inchoate forces of the creative unconscious.” In the more than 35 pieces that comprise the volume, Bukowski runs through all his favorite topics—drinking, fighting, women, horse-racing (“A track is some place you go so you won’t stare at the walls and whack off, or swallow ant poison”)—but he’s at his most lucid and powerful when he explores the process of writing, both his own and others (Artaud, Hemingway, his hero John Fante). There’s a neat deconstruction of Ezra Pound, excerpts from his “Notes of a Dirty Old Man” column and a peripatetic review of a Rolling Stones concert. Though a few of the selections are little more than ill-formed rants, probably originally scrawled across a bar napkin, there is plenty of the visceral, potent, even graphically sexual (tame readers beware of “Workout”) material to satisfy fans.

Not for novices, but a welcome addition to Bukowski’s growing library.

Pub Date: Sept. 15, 2008

ISBN: 978-0-87286-492-4

Page Count: 284

Publisher: City Lights

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 1, 2008

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THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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NUTCRACKER

This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

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