I am a filmmaker in the Hollywood area and

  I am currently making a movie in which I

  would like to include you.

  The nature of the movie is about an

  alcoholic Satan who decides to leave hell

  for a while and have a vacation in

  Hollywood.

  This particular version of Satan is a fun

  guy who can’t get enough booze, SLUTS,

  or adventure.

  Satan, while in Hollywood looks up his

  old buddies (Ghosts) Richard Burton,

  Errol Flynn and Idi Amin (still alive).

  He proceeds to get smashed with these

  guys and they all pass out on him so

  he needs to look up a mortal worthy of

  drinking with him (YOU).

  The scene I have envisioned with you

  would be to be sitting around a crummy

  joint, drinking Mezcal and playing Russian

  Roulette with Satan while 2 big fat chicks

  are slapping each other with Salamis.

  I would want everybody in the scene to be

  SMASHED.

  I can tell you now that I couldn’t pay you

  anything up front xcept Booze and

  adventure.

  —However—

  I am going to hopefully be able to release

  this movie one day and would be happy to

  work out a contractual agreement that

  would arrange a royalty rate—(if you are

  interested.)

  And thanks for mentioning in your

  writing, KNUT HAMSUN.

  he has turned out to be one of my

  faves.

  And just remember,

  WHEN IN DOUBT,

  PASS OUT!

  batting order:

  Hemingway’s been in a slump,

  can’t hit a curve ball

  anymore,

  I’m dropping him to the 6th

  spot.

  I’m putting Celine in

  cleanup,

  he’s inconsistent but when

  he’s good there’s no

  better.

  Hamsun I’m going to use

  in the number 3 spot,

  he hits them hard and

  often.

  lead-off, well, lead-off

  I’ll use e. e. cummings,

  he’s fast, can beat out a

  bunt.

  I’ll use Pound in the

  number two spot, Ezra

  is one of the better

  hit and run men

  in the business.

  the 5 spot I’ll give to

  Dostoevsky,

  he’s a heavy hitter, great with

  men on base.

  the 7 spot I’ll give to Robinson

  Jeffers, can you think of anybody

  better?

  he can drill a rock

  350 feet.

  the 8 spot, I’ve got my

  catcher, J. D. Salinger,

  if we can find

  him.

  and pitching?

  how about Nietzsche?

  he’s strong!

  been breaking all the tables

  in the training

  room.

  coaches?

  I’ll take Kierkegaard and

  Sartre,

  gloomy fellows,

  but none know this

  game better.

  when we field this team,

  it’s all over,

  gentlemen.

  we’re going to kick some

  ass, most likely

  yours.

  the open canvas

  listening to organ music on the radio

  tonight,

  the door to the small balcony is

  open,

  it is 11:07 p.m., cold, a night of

  silence except for the

  radio, the

  organ music,

  and I get this vision

  of a thin, tall man at the keyboard,

  he is more than pale, almost

  a chalky

  white.

  the music boils in the

  gloom.

  the walls about him are

  unpainted, cold,

  austerely

  indifferent.

  a full glass of wine sits

  untouched

  on a rough hand-made table

  to his

  right.

  the music seeps through his

  bones,

  centuries bend and

  unwind as the invisible dog

  of darkness

  walks by

  in a half circle

  behind him,

  then blends into

  neurons.

  the man continues to

  play.

  the world turns upsidedown

  with a fixed gentleness

  but the walls, the man,

  the sounds continue

  as before.

  then the world returns to its

  natural course.

  one tonality breeds

  another.

  the sounds of black strings

  of beads.

  the sound is one

  yet not one.

  then the music

  stops.

  the man sits.

  he is thoughtless.

  the keys of the organ assume

  an immensity.

  the walls about him move away

  faster than the eye

  can note,

  then they

  return.

  the man coughs, looks to

  his left,

  looks down,

  touches the keys and

  is taken

  again.

  in the shadow of the rose

  branching out, grubbing down,

  taking stairways down to hell,

  reestablishing the vanishing

  point, trying a different

  bat, a different stance, altering

  diet and manner of

  walking, readjusting the

  system, photographing your

  dinosaur dream,

  driving your machine with

  more grace and care,

  noticing the flowers talking

  to you,

  realizing the gigantic agony

  of the terrapin,

  you pray for rain like an

  Indian,

  slide a fresh clip into the

  automatic,

  turn out the lights and

  wait.

  About the Author

  CHARLES BUKOWSKI is one of America’s best-known contemporary writers of poetry and prose, and, many would claim, its most influential and imitated poet. He was born in Andernach, Germany, to an American soldier father and a German mother in 1920, and brought to the United States at the age of three. He was raised in Los Angeles and lived there for fifty years. He published his first story in 1944 when he was twenty-four and began writing poetry at the age of thirty-five. He died in San Pedro, California, on March 9, 1994, at the age of seventy-three, shortly after completing his last novel, Pulp (1994).

  During his lifetime he published more than forty-five books of poetry and prose, including the novels Post Office (1971), Factotum (1975), Women (1978), Ham on Rye (1982), and Hollywood (1989). Among his most recent books are the posthumous editions of What Matters Most Is How Well You Walk Through the Fire (1999), Open All Night: New Poems (2000), Beerspit Night and Cursing: The Correspondence of Charles Bukowski and Sheri Martinelli, 1960-1967 (2001), and The Night Torn Mad with Footsteps: New Poems (2001).

  All of his books have now been published in translation in over a dozen languages and his worldwide popularity remains undiminished. In the years to come, Ecco will publish additional volumes of previously uncollected poetry and letters.

  Visit www.AuthorTracker.com for exclusive information on your favorite HarperCol
lins author.

  BY CHARLES BUKOWSKI

  The Days Run Away Like wild Horses Over the Hills (1969)

  Post Office (1971)

  Mockingbird Wish Me Luck (1972)

  South of No North (1973)

  Burning in Water, Drowning in Flame: Selected Poems 1955-1973 (1974)

  Factotum (1975)

  Love Is a Dog from Hell: Poems 1974-1977 (1977)

  Women (1978)

  Play the Piano Drunk /Like a Percussion Instrument/Until the Fingers Begin to Bleed a Bit (1979)

  Shakespeare Never Did This (1979)

  Dangling in the Tournefortia (1981)

  Ham on Rye (1982)

  Bring Me Your Love (1983)

  Hot Water Music (1983)

  There’s No Business (1984)

  War All the Time: Poems 1981-1984 (1984)

  You Get So Alone at Times That It Just Makes Sense (1986)

  The Movie: “Barfly” (1987)

  The Roominghouse Madrigals: Early Selected Poems 1946-1966 (1988)

  Hollywood (1989)

  Septuagenarian Stew: Stories & Poems (1990)

  The Last Night of the Earth Poems (1992)

  Screams from the Balcony: Selected Letters 1960-1970 (1993)

  Pulp (1994)

  Living on Luck: Selected Letters 1960s-1970s (Volume 2) (1995)

  Betting on the Muse: Poems & Stories (1996)

  Bone Palace Ballet: New Poems (1997)

  The Captain Is Out to Lunch and the Sailors Have Taken Over the Ship (1998)

  Reach for the Sun: Selected Letters 1978-1994 (Volume 3) (1999)

  What Matters Most Is How Well You Walk Through the Fire: New Poems (1999)

  Open All Night: New Poems (2000)

  The Night Torn Mad with Footsteps: New Poems (2001)

  Beerspit Night and Cursing: The Correspondence of Charles Bukowski & Sheri Martinelli 1960-1967 (2001)

  Copyright

  THE LAST NIGHT OF THE EARTH POEMS. Copyright © 1992 by Charles Bukowski. All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins e-books.

  Mobipocket Reader July 2007 ISBN 978-0-06-146971-8

  10 9 8 7 6 5 4 3 2 1

  About the Publisher

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  http://www.harpercollinsebooks.com

 


 

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