Back Screams From the Balcony
Chapters (26)
  1. Cover
  2. CHARLES BUKOWSKI
  3. SCREAMS FROM THE BALCONY
  4. EDITED BYSEAMUS COONEY
  5. Contents
  6. EDITOR’S NOTE
  7. • 1958 •
  8. • 1959 •
  9. • 1960 •
  10. • 1961 •
  11. • 1962 •
  12. • 1963 •
  13. • 1964 •
  14. • 1965 •
  15. • 1966 •
  16. • 1967 •
  17. • 1968 •
  18. • 1969 •
  19. AFTERWORD
  20. SEARCHABLE TERMS
  21. Acknowledgments
  22. About the Author
  23. BY CHARLES BUKOWSKIAVAILABLE FROM ECCO
  24. Copyright
  25. About the Publisher
  26. About the Publisher

Stein had more style than genius. Her style was her genius. Faulk was next. He put very little fire into a forge of style that fooled almost everybody. Hem had style and genius that went with it, for a little while, then he tottered, rotted, but was man enough, finally, and had style enough, finally. Lawrence was a cock-freak who never had nerve enough to face the world as a man and so faced the world behind a nerve-soothing soul-soothing whirl of sex proteins, but who ever and nevertheless wrote some penetrating lines. Sherwood A. was just a good old fuck who suffered without too much pretense but who was aware of style, of cutting words into paper so you could see them, like blood or paint. This is important. It is a painting. Writing is painting and the sooner people realize this the less dull crap will dull the market and I will have to get drunk that much less. Picasso does with paint what I would like to do with words, only some day may try to do with paint, only not, fuck of course like P. but like B., and style only means opening into light simply and cleanly. Van Gogh, of course, was never insane. He simply realized the world was elsewhere. And his style, the purest of styles.

A good style comes primarily from a lack of pretentiousness, and what is pretentious changes from year to year from day to day from minute to minute. We must be ever more careful. A man does not get old because he nears death; a man gets old because he can no longer see the false from the good.

Enough of speech-making. [* * *]

Ann Bauman was and is a poet living in Sacramento, publishing in some of the same little magazines Bukowski appeared in. (On her marriage, she became Ann Menebroker.) Evidently their correspondence began with her note of appreciation for a poem of his which appears in Signet, May 1962. Bukowski notes: “Fair poet. I believe we bucked each other up for a while, perhaps she helped me more than I helped her. There was an off-hand, rather ho hum attitude from her, more toward life than toward me.”

[To Ann Bauman]

May 10, 1962