By Charles Bukowski
Bukowski est un écrivain considérable. Un homme en marche. Un homme étincelant. Avec l'énergie du désespoir, il secoue comme un vieux sac notre civilisation fin XXè siècle. Et ce qui tombe n'est pas joli, joli. C'est brutal. Claire Gallois, Le Figaro Toutes les histoires de Bukowski sont aussi vraies qu'infectes et, en cela, font honneur à los angeles littérature : il raconte ce que les autres enjolivent et dissimulent. Le sexisme, los angeles misère du quotidien, l. a. violence et les sentiments de ceux qui se curent le nez. Et c'est pour ça qu'il gêne : il parle à tout le monde. Jean-François Bizot Les Contes de l. a. folie ordinaire ont été portés à l'écran par Marco Ferreri avec Ben Gazzara et Ornella Mutti.
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Bukowski est un écrivain considérable. Un homme en marche. Un homme étincelant. Avec l'énergie du désespoir, il secoue comme un vieux sac notre civilisation fin XXè siècle. Et ce qui tombe n'est pas joli, joli. C'est brutal. Claire Gallois, Le Figaro Toutes les histoires de Bukowski sont aussi vraies qu'infectes et, en cela, font honneur à los angeles littérature : il raconte ce que les autres enjolivent et dissimulent.
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Additional info for Contes De La Folie Ordinaire
But among the ‘sondry thynges’ which books treat of are women, and here we not only have ‘other preve’, but we find the books themselves at variance; in opposition to the antifeminist tradition which is represented in the Legend’s Prologue by the Troilus, there are the ‘sixty bokes olde and newe’ in Chaucer’s possession which the God of Love cites as containing innumerable stories of women who chose to die rather than be unfaithful (G 273–310). How can the notion of literary authority survive such contradictions?
Chaucer must have known perfectly well that Troilus and Criseyde, for the reasons I have already outlined, is not an antifeminist work. Yet he also knew (as his picture of Jankin’s use of his ‘book of wikked wyves’ makes clear) that the subtleties of authorial intention are all too often submerged in the crude interpretations of the reading public. This being so, he both is and is not contributing to the antifeminist tradition in telling of Criseyde. He therefore avails himself of the conventional polarities of the ‘woman debate’ in order to make an equivalent contribution to the opposing stereotype of the suffering ‘good woman’.
At the end of Troilus and Criseyde, he not only apologizes for his story to the female members of his audience12 – Bysechyng every lady bright of hewe, And every gentil womman, what she be, That al be that Criseyde was untrewe, That for that gilt she be nat wroth with me. Ye may hire gilt in other bokes se; 12 The audience addressed may be the implied rather than the actual audience, since Richard Green (1983–4) has shown that the number of women at court was probably small. Such apologies to women for anti-feminist material are frequent enough in medieval literature to be regarded as conventional (Mann, 1991); but Chaucer’s use of the convention is differentiated from that of other writers by his immediate addition of remarks critical of men.
Contes De La Folie Ordinaire by Charles Bukowski