I was a young man, starving and drinking and trying to be a writer. I did most of my reading at the downtown L.A. Public Library, and nothing that I read related to me or to the streets or to the people about me. It seemed as if everybody was playing word-tricks, that those who said almost nothing at all were considered excellent writers. Their writing was an admixture of subtlety, craft and form, and it was read and it was taught and it was ingested and it was passed on. It was a comfortable contrivance, a very slick and careful Word-Culture. One had to go back to the pre-Revolution writers of Russia to find any gamble, any passion. There were exceptions but those exceptions were so few that reading them was quickly done, and you were left staring at rows and rows of exceedingly dull books. With centuries to look back on, with all their advantages, the moderns just weren't very good.

I pulled book after book from the shelves. Why didn't anybody say something? Why didn't anybody scream out?

I tried other rooms in the library. The section on Religion was just a vast bogâto me. I got into Philosophy. I found a couple of bitter Germans who cheered me for a while, then that was over. I tried Mathematics but upper Math was just like Religion: it ran right off me. What
I
needed seemed to be absent everywhere.

I tried Geology and found it curious but, finally, non-sustaining.

I found some books on Surgery and I liked the books on Surgery: the words were new and the illustrations were wonderful. I particularly liked and memorized the operation on the mesocolon.

Then I dropped out of Surgery and I was back in the big room with the novelists and short story writers. (When I had enough cheap wine to drink I never went to the library. A library was a good place to be when you had nothing to drink or to eat, and the landlady was looking for you and for the back rent money. In the library at least you had the use of the toilet facilities.) I saw quite a number of other bums in there, most of them asleep on top of their books.

I kept on walking around the big room, pulling the books off the shelves, reading a few lines, a few pages, then putting them back.

Then one day I pulled a book down and opened it, and there it was. I stood for a moment, reading. Then like a man who had found gold in the city dump, I carried the book to a table. The lines rolled easily across the page, there was a flow. Each line had its own energy and was followed by another like it. The very substance of each line gave the page a form, a feeling of something
carved
into it. And here, at last, was a man who was not afraid of emotion. The humour and the pain were intermixed with a superb simplicity. The beginning of that book was a wild and enormous miracle to me.

I had a library card. I checked the book out, took it to my room, climbed into my bed and read it, and I knew long before I had finished that here was a man who had evolved a distinct way of writing. The book was
Ask the Dust
and the author was John Fante. He was to be a lifetime influence on my writing. I finished
Ask the Dust
and looked for other books of Fante's in the library. I found two:
Dago Red
and
Wait Until Spring, Bandini
. They were of the same order, written of and from the gut and the heart.

Yes, Fante had a mighty effect upon me. Not long after reading these books I began living with a woman. She was a worse drunk than I was and we had some violent arguments, and often I would scream at her, “Don't call me a son of a bitch!
I am Bandini, Arturo Bandini!
”

Fante was my god and I knew that the gods should be left alone, one didn't bang at their door. Yet I liked to guess about where he had lived on Angel's Flight and I imagined it possible that he still lived there. Almost every day I walked by and I thought, is that the window Camilla crawled through? And, is that the hotel door? Is that the lobby? I never knew.

39 years later I reread
Ask the Dust
. That is to say, I reread it this year and it still stands, as do Fante's other works, but this one is my favorite because it was my first discovery of the
magic
. There are other books beside
Dago Red
and
Wait Until Spring, Bandini
. They are
Full of Life
and
The Brotherhood of the Grape
. And, at the moment, Fante has a novel in progress,
A Dream of Bunker Hill
.

Through other circumstances, I finally met the author this year. There is much more to the story of John Fante. It is a story of terrible luck and a terrible fate and of a rare and natural courage. Some day it will be told but I feel that he doesn't want me to tell it here. But let me say that the way of his words and the way of his way are the same: strong and good and warm.

That's enough. Now this book is yours.

Charles Bukowski
5-6-79

Chapter One

One night I was sitting on the bed in my hotel room on Bunker Hill, down in the very middle of Los Angeles. It was an important night in my life, because I had to make a decision about the hotel. Either I paid up or I got out: that was what the note said, the note the landlady had put under my door. A great problem, deserving acute attention. I solved it by turning out the lights and going to bed.

In the morning I awoke, decided that I should do more physical exercise, and began at once. I did several bending exercises. Then I washed my teeth, tasted blood, saw pink on the toothbrush, remembered the advertisements, and decided to go out and get some coffee.

I went to the restaurant where I always went to the restaurant and I sat down on the stool before the long counter and ordered coffee. It tasted pretty much like coffee, but it wasn't worth the nickel. Sitting there I smoked a couple of cigarets, read the box scores of the American League games, scrupulously avoided the box scores of National League games, and noted with satisfaction that Joe DiMaggio was still a credit to the Italian people, because he was leading the league in batting.

A great hitter, that DiMaggio. I walked out of the restaurant, stood before an imaginary pitcher, and swatted a home run over the fence. Then I walked down the street toward Angel's Flight, wondering what I would do that day. But there was nothing to do, and so I decided to walk around the town.

I walked down Olive Street past a dirty yellow apartment house that was still wet like a blotter from last night's fog, and I thought of my friends Ethie and Carl, who were from Detroit and had lived there, and I remembered the night Carl hit Ethie because she was
going to have a baby, and he didn't want a baby. But they had the baby and that's all there was to that. And I remembered the inside of that apartment, how it smelled of mice and dust, and the old women who sat in the lobby on hot afternoons, and the old woman with the pretty legs. Then there was the elevator man, a broken man from Milwaukee, who seemed to sneer every time you called your floor, as though you were such a fool for choosing that particular floor, the elevator man who always had a tray of sandwiches in the elevator, and a pulp magazine.

Then I went down the hill on Olive Street, past the horrible frame houses reeking with murder stories, and on down Olive to the Philharmonic Auditorium, and I remembered how I'd gone there with Helen to listen to the Don Cossack Choral Group, and how I got bored and we had a fight because of it, and I remembered what Helen wore that dayâa white dress, and how it made me sing at the loins when I touched it. Oh that Helenâbut not here.

And so I was down on Fifth and Olive, where the big street cars chewed your ears with their noise, and the smell of gasoline made the sight of the palm trees seem sad, and the black pavement still wet from the fog of the night before.

So now I was in front of the Biltmore Hotel, walking along the line of yellow cabs, with all the cab drivers asleep except the driver near the main door, and I wondered about these fellows and their fund of information, and I remembered the time Ross and I got an address from one of them, how he leered salaciously and then took us to Temple Street, of all places, and whom did we see but two very unattractive ones, and Ross went all the way, but I sat in the parlor and played the phonograph and was scared and lonely.

I was passing the doorman of the Biltmore, and I hated him at once, with his yellow braids and six feet of height and all that dignity, and now a black automobile drove to the curb, and a man got out. He looked rich; and then a woman got out, and she was beautiful, her fur was silver fox, and she was a song across the sidewalk and inside the swinging doors, and I thought oh boy for a little of that, just a day and a night of that, and she was a dream as I walked
along, her perfume still in the wet morning air.

Then a great deal of time passed as I stood in front of a pipe shop and looked, and the whole world faded except that window and I stood and smoked them all, and saw myself a great author with that natty Italian briar, and a cane, stepping out of a big black car, and she was there too, proud as hell of me, the lady in the silver fox fur. We registered and then we had cocktails and then we danced awhile, and then we had another cocktail and I recited some lines from Sanskrit, and the world was so wonderful, because every two minutes some gorgeous one gazed at me, the great author, and nothing would do but I had to autograph her menu, and the silver fox girl was very jealous.

Los Angeles, give me some of you! Los Angeles come to me the way I came to you, my feet over your streets, you pretty town I loved you so much, you sad flower in the sand, you pretty town.

A day and another day and the day before, and the library with the big boys in the shelves, old Dreiser, old Mencken, all the boys down there, and I went to see them, Hya Dreiser, Hya Mencken, Hya, hya: there's a place for me, too, and it begins with B, in the B shelf, Arturo Bandini, make way for Arturo Bandini, his slot for his book, and I sat at the table and just looked at the place where my book would be, right there close to Arnold Bennett; not much that Arnold Bennett, but I'd be there to sort of bolster up the B's, old Arturo Bandini, one of the boys, until some girl came along, some scent of perfume through the fiction room, some click of high heels to break up the monotony of my fame. Gala day, gala dream!

But the landlady, the white-haired landlady kept writing those notes: she was from Bridgeport, Connecticut, her husband had died and she was all alone in the world and she didn't trust anybody, she couldn't afford to, she told me so, and she told me I'd have to pay. It was mounting like the national debt, I'd have to pay or leave, every cent of itâfive weeks overdue, twenty dollars, and if I didn't she'd hold my trunks; only I didn't have any trunks, I only had a suitcase and it was cardboard without even a strap, because the strap was around my belly holding up my pants, and that wasn't much of a job, because there wasn't much left of my pants.

“I just got a letter from my agent,” I told her. “My agent in New York. He says I sold another one; he doesn't say where, but he says he's got one sold. So don't worry Mrs. Hargraves, don't you fret, I'll have it in a day or so.”

But she couldn't believe a liar like me. It wasn't really a lie; it was a wish, not a lie, and maybe it wasn't even a wish, maybe it was a fact, and the only way to find out was watch the mailman, watch him closely, check his mail as he laid it on the desk in the lobby, ask him point blank if he had anything for Bandini. But I didn't have to ask after six months at that hotel. He saw me coming and he always nodded yes or no before I asked: no, three million times; yes, once.

One day a beautiful letter came. Oh, I got a lot of letters, but this was the only beautiful letter, and it came in the morning, and it said (he was talking about
The Little Dog Laughed
) he had read
The Little Dog Laughed
and liked it; he said, Mr. Bandini, if ever I saw a genius, you are it. His name was Leonardo, a great Italian critic, only he was not known as a critic, he was just a man in West Virginia, but he was great and he was a critic, and he died. He was dead when my airmail letter got to West Virginia, and his sister sent my letter back. She wrote a beautiful letter too, she was a pretty good critic too, telling me Leonardo had died of consumption but he was happy to the end, and one of the last things he did was sit up in bed and write me about
The Little Dog Laughed:
a dream out of life, but very important; Leonardo, dead now, a saint in heaven, equal to any apostle of the twelve.

Everybody in the hotel read
The Little Dog Laughed
, everybody: a story to make you die holding the page, and it wasn't about a dog, either: a clever story, screaming poetry. And the great editor, none but J. C. Hackmuth with his name signed like Chinese said in a letter: a great story and I'm proud to print it. Mrs. Hargraves read it and I was a different man in her eyes thereafter. I got to stay on in that hotel, not shoved out in the cold, only often it was in the heat, on account of
The Little Dog Laughed
. Mrs. Grainger in 345, a Christian Scientist (wonderful hips, but kinda old) from Battle Creek, Michigan, sitting in the lobby waiting to
die, and
The Little Dog Laughed
brought her back to the earth, and that look in her eyes made me know it was right and I was right, but I was hoping she would ask about my finances, how I was getting along, and then I thought why not ask her to lend you a five spot, but I didn't and I walked away snapping my fingers in disgust.

The hotel was called the Alta Loma. It was built on a hillside in reverse, there on the crest of Bunker Hill, built against the decline of the hill, so that the main floor was on the level with the street but the tenth floor was downstairs ten levels. If you had room 862, you got in the elevator and went down eight floors, and if you wanted to go down in the truck room, you didn't go down but up to the attic, one floor above the main floor.

Oh for a Mexican girl! I used to think of her all the time, my Mexican girl. I didn't have one, but the streets were full of them, the Plaza and Chinatown were afire with them, and in my fashion they were mine, this one and that one, and some day when another check came it would be a fact. Meanwhile it was free and they were Aztec princesses and Mayan princesses, the peon girls in the Grand Central Market, in the Church of Our Lady, and I even went to Mass to look at them. That was sacrilegious conduct but it was better than not going to Mass at all, so that when I wrote home to Colorado to my mother I could write with truth. Dear Mother: I went to Mass last Sunday. Down in the Grand Central Market I bumped into the princesses accidentally on purpose. It gave me a chance to speak to them, and I smiled and said excuse me. Those beautiful girls, so happy when you acted like a gentleman and all of that, just to touch them and carry the memory of it back to my room, where dust gathered upon my typewriter and Pedro the mouse sat in his hole, his black eyes watching me through that time of dream and reverie.

Pedro the mouse, a good mouse but never domesticated, refusing to be petted or house-broken. I saw him the first time I walked into my room, and that was during my hey-day, when
The Little Dog Laughed
was in the current August issue. It was five months ago, the day I got to town by bus from Colorado with a hundred
and fifty dollars in my pocket and big plans in my head. I had a philosophy in those days. I was a lover of man and beast alike, and Pedro was no exception; but cheese got expensive, Pedro called all his friends, the room swarmed with them, and I had to quit it and feed them bread. They didn't like bread. I had spoiled them and they went elsewhere, all but Pedro the ascetic who was content to eat the pages of an old Gideon Bible.

Ah, that first day! Mrs. Hargraves opened the door to my room, and there it was, with a red carpet on the floor, pictures of the English countryside on the walls, and a shower adjoining. The room was down on the sixth floor, room 678, up near the front of the hill, so that my window was on a level with the green hillside and there was no need for a key, for the window was always open. Through that window I saw my first palm tree, not six feet away, and sure enough I thought of Palm Sunday and Egypt and Cleopatra, but the palm was blackish at its branches, stained by carbon monoxide coming out of the Third Street Tunnel, its crusted trunk choked with dust and sand that blew in from the Mojave and Santa Ana deserts.

Dear Mother, I used to write home to Colorado, Dear Mother, things are definitely looking up. A big editor was in town and I had lunch with him and we have signed a contract for a number of short stories, but I won't try to bore you with all the details, dear mother, because I know you're not interested in writing, and I know Papa isn't, but it levels down to a swell contract, only it doesn't begin for a couple of months. So send me ten dollars, mother, send me five, mother dear, because the editor (I'd tell you his name only I know you're not interested in such things) is all set to start me out on the biggest project he's got.

Dear Mother, and Dear Hackmuth, the great editorâthey got most of my mail, practically all of my mail. Old Hackmuth with his scowl and his hair parted in the middle, great Hackmuth with a pen like a sword, his picture was on my wall autographed with his signature that looked Chinese. Hya Hackmuth, I used to say, Jesus how you can write! Then the lean days came, and Hackmuth got big letters from me. My God, Mr. Hackmuth, something's wrong
with me: the old zip is gone and I can't write anymore. Do you think, Mr. Hackmuth, that the climate here has anything to do with it? Please advise. Do you think, Mr. Hackmuth, that I write as well as William Faulkner? Please advise. Do you think, Mr. Hackmuth, that sex has anything to do with it, because, Mr. Hackmuth, because, because, and I told Hackmuth everything. I told him about the blonde girl I met in the park. I told him how I worked it, how the blonde girl tumbled. I told him the whole story, only it wasn't true, it was a crazy lieâbut it was something. It was writing, keeping in touch with the great, and he always answered. Oh boy, he was swell! He answered right off, a great man responding to the problems of a man of talent. Nobody got that many letters from Hackmuth, nobody but me, and I used to take them out and read them over, and kiss them. I'd stand before Hackmuth's picture crying out of both eyes, telling him he picked a good one this time, a great one, a Bandini, Arturo Bandini, me.

The lean days of determination. That was the word for it, determination: Arturo Bandini in front of his typewriter two full days in succession, determined to succeed; but it didn't work, the longest siege of hard and fast determination in his life, and not one line done, only two words written over and over across the page, up and down, the same words: palm tree, palm tree, palm tree, a battle to the death between the palm tree and me, and the palm tree won: see it out there swaying in the blue air, creaking sweetly in the blue air. The palm tree won after two fighting days, and I crawled out of the window and sat at the foot of the tree. Time passed, a moment or two, and I slept, little brown ants carousing in the hair on my legs.

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