'A Man' by Charles Bukowski
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George was lying in his trailer, flat on his back, watching a small portable T.V. His
dinner dishes were undone, his breakfast dishes were undone, he needed a shave, and ash
from his rolled cigarettes dropped onto his undershirt. Some of the ash was still burning.
Sometimes the burning ash missed the undershirt and hit his skin, then he cursed, brushing
it away. There was a knock on the trailer door. He got slowly to his feet and answered the
door. It was Constance. She had a fifth of unopened whiskey in a bag.
"George, I left that son of a bitch, I couldn't stand that son of a bitch
anymore."
"Sit down."
George opened the fifth, got two glasses, filled each a third with whiskey, two thirds
with water. He sat down on the bed with Constance. She took a cigarette out of her purse
and lit it. She was drunk and her hands trembled.
"I took his damn money too. I took his damn money and split while he was at work.
You don't know how I've suffered with that son of a bitch." "
Lemme have a smoke," said George. She handed it to him and as she leaned near,
George put his arm around her, pulled her over and kissed her.
"You son of a bitch," she said, "I missed you."
"I miss those good legs of yours , Connie. I've really missed those good
legs."
"You still like 'em?"
"I get hot just looking."
"I could never make it with a college guy," said Connie. "They're too
soft, they're milktoast. And he kept his house clean. George , it was like having a maid.
He did it all. The place was spotless. You could eat beef stew right off the crapper. He
was antisceptic, that's what he was."
"Drink up, you'll feel better."
"And he couldn't make love."
"You mean he couldn't get it up?"
"Oh he got it up, he got it up all the time. But he didn't know how to make a
woman happy, you know. He didn't know what to do. All that money, all that education, he
was useless."
"I wish I had a college education."
"You don't need one. You have everything you need, George."
"I'm just a flunkey. All the shit jobs."
"I said you have everything you need, George. You know how to make a woman
happy."
"Yeh?"
"Yes. And you know what else? His mother came around! His mother! Two or three
times a week. And she'd sit there looking at me, pretending to like me but all the time
she was treating me like I was a whore. Like I was a big bad whore stealing her son away
from her! Her precious Wallace! Christ! What a mess!" "He claimed he loved me.
And I'd say, 'Look at my pussy, Walter!' And he wouldn't look at my pussy. He said, 'I
don't want to look at that thing.' That thing! That's what he called it! You're not afraid
of my pussy, are you, George?"
"It's never bit me yet." "But you've bit it, you've nibbled it, haven't
you George?"
"I suppose I have."
"And you've licked it , sucked it?"
"I suppose so."
"You know damn well, George, what you've done."
"How much money did you get?"
"Six hundred dollars."
"I don't like people who rob other people, Connie."
"That's why you're a fucking dishwasher. You're honest. But he's such an ass,
George. And he can afford the money, and I've earned it... him and his mother and his
love, his mother-love, his clean l;ittle wash bowls and toilets and disposal bags and
breath chasers and after shave lotions and his little hard-ons and his precious
love-making. All for himself, you understand, all for himself! You know what a woman
wants, George."
"Thanks for the whiskey, Connie. Lemme have another cigarette."
George filled them up again. "I missed your legs, Connie. I've really missed those
legs. I like the way you wear those high heels. They drive me crazy. These modern women
don't know what they're missing. The high heel shapes the calf, the thigh, the ass; it
puts rythm into the walk. It really turns me on!"
"You talk like a poet, George. Sometimes you talk like that. You are one hell of a
dishwasher."
"You know what I'd really like to do?"
"What?"
"I'd like to whip you with my belt on the legs, the ass, the thighs. I'd like to
make you quiver and cry and then when you're quivering and crying I'd slam it into you
pure love."
"I don't want that, George. You've never talked like that to me before. You've
always done right with me."
"Pull your dress up higher."
"What?"
"Pull your dress up higher, I want to see more of your legs."
"You like my legs, don't you, George?"
"Let the light shine on them!"
Constance hiked her dress.
"God christ shit," said George.
"You like my legs?"
"I love your legs!" Then george reached across the bed and slapped Constance
hard across the face. Her cigarette flipped out of her mouth.
"what'd you do that for?"
"You fucked Walter! You fucked Walter!"
"So what the hell?"
"So pull your dress up higher!"
"No!"
"Do what I say!" George slapped again, harder. Constance hiked her skirt.
"Just up to the panties!" shouted George. "I don't quite want to see the
panties!"
"Christ, george, what's gone wrong with you?"
"You fucked Walter!"
"George, I swear, you've gone crazy. I want to leave. Let me out of here,
George!"
"Don't move or I'll kill you!"
"You'd kill me?"
"I swear it!" George got up and poured himself a shot of straight whiskey,
drank it, and sat down next to Constance. He took the cigarette and held it against her
wrist. She screamed. HE held it there, firmly, then pulled it away.
"I'm a man , baby, understand that?"
"I know you're a man , George."
"Here, look at my muscles!" george sat up and flexed both of his arms.
"Beautiful, eh ,baby? Look at that muscle! Feel it! Feel it!"
Constance felt one of the arms, then the other.
"Yes, you have a beautiful body, George."
"I'm a man. I'm a dishwasher but I'm a man, a real man."
"I know it, George." "I'm not the milkshit you left."
"I know it."
"And I can sing, too. You ought to hear my voice."
Constance sat there. George began to sing. He sang "Old man River." Then he
sang "Nobody knows the trouble I've seen." He sang "The St. Louis
Blues." He sasng "God Bless America," stopping several times and laughing.
Then he sat down next to Constance. He said, "Connie, you have beautiful legs."
He asked for another cigarette. He smoked it, drank two more drinks, then put his head
down on Connie's legs, against the stockings, in her lap, and he said, "Connie, I
guess I'm no good, I guess I'm crazy, I'm sorry I hit you, I'm sorry I burned you with
that cigarette."
Constance sat there. She ran her fingers through George's hair, stroking him, soothing
him. Soon he was asleep. She waited a while longer. Then she lifted his head and placed it
on the pillow, lifted his legs and straightened them out on the bed. She stood up, walked
to the fifth, poured a jolt of good whiskey in to her glass, added a touch of water and
drank it sown. She walked to the trailer door, pulled it open, stepped out, closed it. She
walked through the backyard, opened the fence gate, walked up the alley under the one
o'clock moon. The sky was clear of clouds. The same skyful of clouds was up there. She got
out on the boulevard and walked east and reached the entrance of The Blue Mirror. She
walked in, and there was Walter sitting alone and drunk at the end of the bar. She walked
up and sat down next to him. "Missed me, baby?" she asked. Walter looked up. He
recognized her. He didn't answer. He looked at the bartender and the bartender walked
toward them They all knew eachother.
Editor 1 Interpretation
A Man by Charles Bukowski: A Masterpiece of Raw Realism and Existentialism
If you're looking for a literary work that unflinchingly exposes the harshness and complexities of human existence, then you must read Charles Bukowski's "A Man." This short story, first published in 1968, is a quintessential example of Bukowski's distinctive style - gritty, raw, and unapologetically honest. In this literary criticism, we'll delve deeper into the themes, characters, and style of "A Man" and explore why it remains a timeless masterpiece of American literature.
Setting and Characters: A Snapshot of 1960s America
At its core, "A Man" is a character study that portrays the life of Henry Chinaski, a semi-autobiographical alter ego of Bukowski. The story is set in Los Angeles during the 1960s, a time when America was undergoing significant social and political changes. The city's streets are teeming with people from all walks of life - the working-class, the homeless, the drunks, the prostitutes, and the artists. It's a place where people struggle to survive, to find meaning in their lives, and to make sense of the world around them.
Henry Chinaski is a man who embodies the spirit of the city. He's a middle-aged, alcoholic, and cynical writer who works as a postman to make ends meet. He despises his job, his coworkers, and his customers, but he keeps doing it because he has no other choice. He's also a womanizer who frequents bars, strip clubs, and whorehouses in search of temporary solace from his existential angst. He's a complex character - equal parts loathsome and sympathetic - who represents the contradictions and paradoxes of human nature.
Themes: The Absurdity and Authenticity of Life
At its heart, "A Man" is an existentialist work that explores the themes of alienation, absurdity, and authenticity. Henry Chinaski is a man who feels disconnected from the world around him. He sees the people he interacts with - his boss, his coworkers, his customers - as mindless machines who are trapped in a system that oppresses them. He feels like he's just going through the motions of life, without any real purpose or passion.
But as the story progresses, we see glimpses of Henry's authenticity shining through the fog of his apathy. He has moments of clarity and insight - when he watches a man play the piano with genuine emotion, when he sees a woman in a bar who's not afraid to be herself, when he writes a poem that expresses his deepest fears and desires. These moments are fleeting, but they remind us that even in the midst of life's absurdity, there's still the possibility of finding meaning and connection.
The story also explores the absurdity of existence - the idea that life is inherently meaningless, and that we create our own meaning through our actions and choices. Henry Chinaski is a man who's acutely aware of this absurdity. He knows that he's going to die one day, and that everything he does in the meantime is ultimately irrelevant. But he still tries to make sense of his life, to find some kind of purpose, even if it's just through his writing.
Style: Raw Realism and Stream-of-Consciousness
One of the defining features of Bukowski's writing is his distinctive style. He's a master of raw realism - a style that seeks to depict life as it actually is, without any sugarcoating or idealization. Bukowski's language is direct, vulgar, and unpretentious. He's not afraid to use profanity, graphic sex scenes, or violent imagery to convey the harsh realities of life.
Another hallmark of Bukowski's style is his use of stream-of-consciousness narration. The story is told from Henry Chinaski's perspective, and we're privy to his innermost thoughts and feelings. This technique allows us to see the world through his eyes, to experience his existential angst and his moments of clarity. It also gives the story a sense of immediacy and intimacy that draws us into Henry's world.
Conclusion: A Timeless Masterpiece
In conclusion, "A Man" is a timeless masterpiece of American literature. It's a raw, honest, and unflinching portrayal of the human condition - a story that exposes the absurdity and complexity of existence while also celebrating the possibility of authenticity and connection. Bukowski's distinctive style and unforgettable characters make this story a must-read for anyone who wants to experience the raw realities of life. So go ahead, read "A Man" and discover the genius of Charles Bukowski.
Editor 2 Analysis and Explanation
A Man: A Classic Tale of Survival and Redemption
Charles Bukowski’s short story “A Man” is a classic tale of survival and redemption that has captivated readers for decades. The story follows the life of Henry Chinaski, a down-on-his-luck alcoholic who struggles to find meaning and purpose in his life. Through his journey, we see the harsh realities of poverty, addiction, and the human condition. In this analysis, we will explore the themes, characters, and literary devices used in “A Man” to understand why it has become a timeless classic.
The story begins with Henry Chinaski waking up in a cheap hotel room, hungover and alone. He is a man who has hit rock bottom, with no job, no money, and no prospects. He spends his days drinking and gambling, hoping to win big and turn his life around. However, his luck never seems to change, and he is stuck in a cycle of despair and hopelessness.
One of the central themes of “A Man” is the struggle for survival. Henry Chinaski is a man who has been beaten down by life, but he refuses to give up. He is a survivor, and he will do whatever it takes to keep going. This is evident in his determination to find work, even when he is turned down time and time again. He is willing to take any job, no matter how menial or degrading, just to make ends meet. This is a testament to his resilience and his refusal to be defeated by his circumstances.
Another theme that runs throughout the story is the search for meaning and purpose. Henry Chinaski is a man who is lost, both figuratively and literally. He wanders aimlessly through life, searching for something that he cannot define. He tries to find meaning in his relationships with women, but they all end in disappointment and heartbreak. He tries to find purpose in his writing, but he is constantly rejected by publishers. It is only when he meets Wanda, a fellow alcoholic, that he begins to see a glimmer of hope. She is a kindred spirit, someone who understands his pain and his struggles. Through their relationship, he begins to find a sense of purpose and belonging.
The characters in “A Man” are complex and multi-dimensional. Henry Chinaski is a flawed protagonist, but he is also sympathetic and relatable. He is a man who has been dealt a bad hand in life, but he refuses to give up. He is a survivor, and we root for him to succeed. Wanda is also a fascinating character. She is a woman who has been through her own struggles, but she is kind and compassionate. She sees the good in Henry, even when he cannot see it himself. Their relationship is the heart of the story, and it is through their interactions that we see the potential for redemption and hope.
Bukowski’s writing style is raw and unfiltered. He does not shy away from the harsh realities of life, and his prose is often gritty and visceral. He uses vivid descriptions to paint a picture of the world that Henry Chinaski inhabits. For example, when describing the hotel room where Henry wakes up, Bukowski writes, “The room was small and dingy, with peeling wallpaper and a stained mattress on the floor. The air was thick with the smell of stale cigarette smoke and cheap whiskey.” This description immediately sets the tone for the story and gives the reader a sense of the bleakness of Henry’s existence.
Bukowski also uses repetition and symbolism to great effect in “A Man”. The image of the horse is a recurring motif throughout the story. Henry sees a horse in a field on his way to work, and it becomes a symbol of freedom and escape. He dreams of riding the horse away from his troubles and starting a new life. The horse represents the hope and possibility that Henry longs for, but it is always just out of reach.
In conclusion, “A Man” is a classic tale of survival and redemption that has stood the test of time. Through the character of Henry Chinaski, Bukowski explores the themes of survival, meaning, and purpose. The characters are complex and multi-dimensional, and the writing style is raw and unfiltered. Bukowski’s use of repetition and symbolism adds depth and meaning to the story. “A Man” is a powerful and moving work of literature that continues to resonate with readers today.
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