Review of Charles Bukowski's 'Women' [SPOILER ALERT]

I just finished reading Charles Bukowski's 'Women'. Like, just finished it. Just now. For most of the book I had no idea where he was going with the whole thing... it just seemed like one graphic, semi-pornographic sexual encounter after another. I mean, obviously I knew he was going somewhere, because I've read 'Ham on Rye', and 'Post Office', but I had no idea where, or whether it would be anywhere truly interesting, and I had absolutely no inclination whatsoever to begin guessing.

I think 'Women' is by far the best of the three Bukowski books that I've read though, and it definitely resonated with me much more than the other two... the language, he is so detached. Every sexual encounter starts with his eyes roaming up some girl's legs – they're not even girls though, really, just bodies with names on them. Then she undresses and submits to him completely; “I mounted, stuck it in, and then...” is a fair summation of the end of every other chapter in this book, and there are one-hundred and four of them. He jumps from woman to woman to woman to woman, never growing attached to them, or even seeming to care when they walk out on him. At one point around the halfway mark he muses that all of his women leave him, but it is clear that this is only the case because he will take sex wherever he can get it. Only on his terms though. Only ever the way he wants it... he knows how he is, and for most of the book he is aware that he is selfish, and a bastard, and he understands why they all leave. He is seemingly at peace.

The morning hangovers and physical sickness barely seem to drain him, and the paid poetry readings that sustain his lifestyle somehow keep popping up out of nowhere, along with groupies, and fan-mail from easy women. He dismisses the men. But he hardly talks of love – he was married once, but had been in love four times. Now a dirty old man of around sixty, he dreams of the day when he is “an eighty year old fucking an eighteen year old.” Life-long dreams of a professional pervert.

This chauvinistic, evil womaniser has his run of the town for most of the book, and the thing is... and I don't know whether this thing is scary, or sobering, or humbling, or maybe just deliciously tempting in its realism... the thing is, it speaks to me. I don't stand for all men, and I'm sure there are saints out there somewhere among us, but the way Henry Chinaski (Bukowski's literary alter-ego) laps up woman after eager, fawning woman should have most straight men salivating. It's not pretty, and it's not nice, and it sure is pretty fucking uncomfortable, but he gets right to the core of it, at least for me. No wonder there is no mention of his mother... no family, no moral compass or ties to a possibly innocent past. Just a dirty old man, “sucking beer”, puking up blood through three-hundred hangovers a year.

Towards the end though, maybe the last seventy or so pages (out of three-hundred) things start to get a little clouded for Henry Chinaski. The sex is still good – in fact the whores and sluts that he so adores only become more and more sumptuous, their young flesh more and more tempting... but he has also met a girl, Sara, who touches something else in him. He doesn't say he loves her, and I trust him, he is a very honest narrator, and is frank and blunt about his feelings, both to his women, and to the reader. He doesn't love Sara, but he knows that she is 'a good woman', and this is a phrase he uses sparingly only once before. But the difference with Sara as well, is that she won't fuck him. She knows about his continuing conquests, and she suffers through his ongoing selfishness, but she always comes back, and there is something in that that strikes a chord with old, dirty Henry Chinaski. His last few sexual encounters span the whole range of women possibly conceivable: a young, nubile belly-dancer from Canada who gives him the time of his life, and gives it to him again and again; an old, haggard, sagging woman whom he loathes even before she is between his sheets, and infinitely more afterwards; a black hooker who sucks his dick terribly five minutes after meeting him in the car park of a liquor store; a ninety-pound, eighteen year old – at last. He has seen everything. Fondled every part, fucked every crevice. Still Sara waits, over Thanksgiving, Christmas, then she gives herself to him, without his asking and says, “Happy New Years Henry”; they fall asleep together.

After he accepts terrible head from the black hooker for twenty dollars, and then drives her to an intersection where she continues to hitchhike and no doubt solicit more of the same, he makes one last attempt – and there have been many beforehand – to steel his mind against any more fucking around.

“Sara was a good woman. I had to get myself straightened out. The only time a man needed a lot of women was when none of them were any good. A man could lose his identity fucking around too much. Sara deserved much better than I was giving her. It was up to me now.”

This is his final challenge to himself... three-hundred and four pages in and barely one more to go, he convinces himself that he needs to give this good woman a proper chance, because if he lets her slip away, then he will be doomed. Then another girl calls, another admirer, and this is where I was scared. Charles Bukowski was about to offer his opinion, in this last page, in one last conversation between a dirty old man and a juicy, delicious, groaning and spread-legged nineteen-year-old temptress. In the final lines of 'Woman' Charles Bukowski would decree whether, in his humble opinion, it was at all possible for a flawed man to accept the love of a good woman.

Anyone who says that Bukowski is a sexist, chauvinistic pig is probably right... but anyone who says that this is all he is is a single-minded, blind fucking moron. 'Women' is a book that is not afraid to delve past the scared facades that we put in front of ourselves to mask our true desires in our attempts to play the role of the good guy. I'm still not sure if Henry Chinaski is a good guy or not, but I am sure that he is a real guy, about as real a guy as there could possibly ever be in my eyes, and when his time came to decide whether he could be loved in the final pages of this book, my heart was in my mouth, as I felt my fate too, rested in his decision.

He sent her back. And still, there is hope yet.

Peace, Taco.

On the Road and Other Medications

Reading Jack Kerouac's 'On the Road' the first time was a bit of a blur for me to be honest, I was in Bolivia, and I read the entire thing on my HTC Desire HD screen (that's a phone, if you were unsure) in less than twenty-four hours. Most of those hours were spent on a bus, sitting next to a Bolivian kid who was sixteen or seventeen if I remember correctly. I read the book for hour-long stints at a time, and then would turn to the kid and continue the conversation we'd been having before I had dipped off into my reading and he back into the 'cincuenta centavo' (50 Cent) playing on his iPod. I don't think I rushed through it, but the book has a real habit of lifting you out of whatever you are doing and taking you away on the journey, the road, off into the distance with it... so I definitely read it quicker than I would have a normal book. I'm reading it for the second time now though – I'm typing it out actually, word-for-word on my laptop – and this time I'm taking it much slower.

I've just reached the start of part two, and I'm only going about four or five pages each sitting, because to type about that many pages takes around forty minutes to an hour, depending on how good a day my fingers are having. But I'm loving the fact that it's so slow. I almost forget about this ongoing project every few days, but it sits there – the Penguin-Paperback copy of 'On the Road', the clothes-peg I use to hold the pages open, and the hardcover children's 'The Fun-To-Learn Picture Dictionary' that I use as a board to peg the pages of the book onto – it all sits there on the back corner of my desk, waiting to be opened whenever I feel a little desperate. Typing out books is something that I've grown to really depend on in the past year; first it was Orwell's '1984', and now this. It's a great way to immerse myself in someone else's words and thoughts, forcibly and directly, and take my busy mind off of whatever frantic problems are troubling me. The idea came from Hunter S. Thompson and my former obsession with his wild, drug-addled life and persona, but now that I've appropriated his activity as my own I can see benefits completely separate from what he described – or what were described on his behalf. He did it to “see what it felt like to write a great novel”, if I remember correctly – he typed out F. Scott Fitzgerald's 'The Great Gatsby' – but his motivation is of much lesser concern to me. My aims are much more simple, but much more immediate, and vital as well.

I just passed over a part in 'On the Road' where Dean Moriarty has left his second wife, Camille, with their child to go back to his first wife, Marylou, and beg on his knees for her to take him back. She does, and in Kerouac's own words;

“She understood Dean; she stroked his hair; she knew he was mad.”

More reassuring words have never been written, and upon typing them out as my eyes flitted over the page I felt a wave of understanding and hope wash over me. I recently watched a video of Neal Cassady, upon whom Moriarty is famously based, when he was on the bus with the Merry Pransters in the early-mid sixties and to be perfectly honest, he looks and sounds like a complete lunatic. A madman. But sometimes it's hard not to feel, in the furious changing tides of life, that I am mad as well. Although maybe not as outwardly eccentric as Cassady/Moriarty, I'm sure every one of us feels at some point as if they are the exception to some sane rule of the world, an outlier on the bell curve of acceptable normalcy. “Am. I. Insane?”

Well maybe you are, and maybe I am, but Jack Kerouac, in a surely unplanned but far from accidental stroke-of-genius example here, shows that no matter how crazy you think you are, or how crazy you are by everyone else's admission, you still have a place in this world, and you can still find someone to love you. Dean Moriarty, with his head in the hands of his sweetheart, is proof enough of that.

Sometimes I wonder when I'll get tired of the violent up-and-down cycle of my mood and of my life and of the world that I constantly create around myself. I find myself hoping that that day will come soon; “soon, surely, soon I'll find it within myself to settle down and find a level of balance in my life, soon I'll be able to relax.” But every time I find myself repeating this tired inner dialogue, I am tempted, once again, by the promise of a higher tomorrow, and the irresistible, surging rise of a brand new peak. For as long as I am tempted by these peaks though, there will be a frightening low waiting in the trough, and that's where Jack Kerouac and his famous tale of freedom come in. Whenever I feel like I need something else to hold onto, to support me while I ride out the lows and confront the fear, I turn to the pages of this book – and when it's done, the pages of another classic that I'll start typing out – to escape to the open spaces of someone else's words, and leave the dark churnings of my own mind behind for a while. In this way, I remind myself that a new high is coming, and peace is a comfort that, for the moment, I do not need. Not just yet, Tugzy. Not today.

Peace, Taco.