By Charles Bukowski
A brief tale tailored from Charles Bukowski's semi-autobiographical works. the following, one of many eponymous "Winos" is employed for the backbreaking activity of relocating railroad ties.
Matthias Schultheiss, the artist, labored on a sequence of comedian variations of brief tales by way of Charles Bukowski, gathered in an album via Heyne, Germany. moreover, Schultheiss did art for a number of conversation and press assignments, and he illustrated the part 'Die Grüne Hölle' in Stern journal.
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Additional resources for A Couple of Winos
This feature has been especially important in the growth of Afro-American studies since so much of the early black experience in the New World was preserved in autobiographical reminiscences rather than in more formal historical archives and since so many prominent black writers (Frederick Douglass, Malcolm X, Olaudah Equiano, Maya Angelou, among many others) entered the literary mainstream via the autobiography (Olney 1980:15; see also Blasing 1977, Blassingame 1973). In this monograph, autobiographies will be treated as emanations of individuals and as reflections of their will to reveal and share part of their selves.
This position echoes that of Thomas and Znaniecki, who postulated that every social fact was the product of a "continual interaction of individual consciousness and objective social reality" (1958:1831). The production of an autobiography is itself part of the process of the evolution of individual consciousness (Schutz and Luckmann 1974), and the construction of a life history "is the mode by which the individual represents those aspects of his past which are relevant to the present situation" (Kohli 1981:65).
A variant of this position has been expressed by Jean-Paul Sartre, who contends that, since all memory is selective, there must be a "prior structure of personal identity that provides the template by which certain events are cast as images significant enough to be stored" (Langness and Frank 1981:109). In his study of Jean Genet (1963), Sartre suggests that this template takes the form of the subject's "fundamental project," which is "the organizing principle or nexus of meanings and values that inform a person's choices'' (in Langness and Frank 1981:109).