Alone With Everybody: A Charles Bukowski Analysis

Charles Bukowski’s poetry is often associated with by references to alcohol, sex, and perpetual sadness. In his poem “Alone with Everybody,” Bukowski addresses all three topics. This freeform poem describes the pain that comes with trying to find “the one” romantic partner to be with for eternity, and how no one will ever truly find this person, despite so many attempts. The title itself states that each of us is destined to be “alone,” or unhappy in a relationship. In yet another poem where “Bukowski writes with no apologies from the frayed edge of society” (Kessler). The tone of this poem is just as cynical and sad as one could expect from any Bukowski work, but still tells an honest truth about the romanticization of finding “the one” and how these unrealistic expectations sets one up for disappointment. 

The speaker opens by reducing people to “flesh” and “bone,” (line 1) mere animals with instincts to find one another. He goes on to say that “they” (line 2) made the idea that there is “sometimes a soul” (line 4) in us. The speaker is clearly cynical of the idea that humans have anything more than just a skeleton in us- it is clear that the speaker believes that a soul is a human construct. In addition, the speaker is so pessimistic of human emotions that he/she describes then by their skin and skeletons instead. By reducing people to nothing but a physical body, the speaker is proving a point about how finding love is not what people think it is. This is a cynical way of seeing humans’ desire to find love and romance, only to be expected by 

Bukowski, a writer with a “loner persona” (Economou). The speaker goes on to explain in lines 5-8 how people’s sadness and utter loneliness can be expressed through different outlets.

and the women break 

vases against the walls 

and the men drink too 


Here, it is clear how women who are expected to remain cool, calm, and collected are likely to lose themselves in an angry burst, while men who often suppress their feelings will drink their sadness away. Even the word choice in how the speaker explains their violent coping mechanisms is vital here- a “vase” (line 6) tends to be feminine, as it is a household item used to hold flowers. The men “drink” (line 7) because alcohol is a way to internalize their pain, another form of escapism. These raw descriptions of how heartbroken people employ different forms of self-destruction to deal with their pain add to the bleak tone of the poem. 

In the next line, the speaker explains how people are constantly searching for their soulmate despite so many failed attempts at doing so, how they are constantly “crawling in and out / of beds” (lines 13-14) in search for someone to love them. The metaphor of humans being mere “flesh” comes back into play because humans are always looking for another body to fulfill their need. The people are “crawling” as if they are wounded, though in this case the speaker is insinuating that this is emotional pain they are struggling with. These people are desperate for affection and relief, a person to call their own or at least a place to escape. Bukowski uses this poem to suggest that people are defeated and depressed from heartbreak

Then, the speaker makes a daring statement that every human has the same destiny of loneliness- that “no one ever finds / the one” (lines 25-26). This controversial negative opinion of romance sets the theme for the entire poem. This is also where the title is so revealing; “Alone With Everybody” refers to how each person will end up alone, but everybody is together in having this destiny. 

The last few lines go on to say that although “junkyards” (line 28) and cemeteries and “hospitals” (line 30)  might fill up with garbage and humans, this is all that will be filled. The speaker chooses to use these places as examples because they are the opposite of the romance he/she is so critical of. These are places that are full of despair and sadness, which is the the negative reality the speaker is highlighting. When it comes down to people’s desire to be with someone else, to feel less lonely and “fill” the void inside them, this will never come. The speaker’s view is that people will always be alone, no matter how hard they try. 

Charles Bukowski’s poetry leaves readers with a sense of familiar sadness. In his poem “Alone with Everybody,” Bukowski does not disappoint. This freeform poem describes the pain that comes with trying to find “the one” romantic partner to be with for eternity, and how no one will ever truly find this person, despite so many attempts. Throughout these lines, Bukowski uses specific word choices and metaphors to maintain a theme of hopelessness and loneliness. 


Works Cited

“Charles Bukowski.” Poetry Foundation, Poetry Foundation, 2010,

Economou, G. (2004). Sifting through the madness for the word, the line, the way: New poems. World Literature Today, 78(3), 97-98. Retrieved from

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Plant Poetry & Abstract Nature

“The following statements are abstract thought renderings/poems of influenced nature and science. These statements should not be taken literally but inspirationally.”

PLANT POETRY & ABSTRACT NATURE (The Fundamental Ignorance Of Pure Observational Awareness) {

<from silence comes everything.>

(It is the longest day today); The solstice of the year 2019; beginning the longest days of light on this side of the sphere. “Is this nature?” as I type this out. Forming some sort of pathway from the void and into the reality of “something”? Perhaps complexity only exists as a human trait within the stream of everything that can exist. Expressing its own fundamental will of motion through time. Simplicity is a divine form that allows the permeation of this reality stream to; coalesce and congeal within the highest and lowest parts of its projected interactive logic.

</from silence comes everything.>

<fundamental ignorance.>

(As above, so below; as within, so without.); The seed can regulate the “will” within it’s roots. Branches express the proportional happiness in having the ability to express its own will. “It will exist if it is not already here to naturally do so”. The pinecone, the flower: the patterns of the visual are a secret to its larger encrypted counterpart. The code to all things living; exists as a direct reflection of its own code. Those patterns are natures hints into the constructive flow within itself; allowing it to take shape within the parameters of this external interface.

(What are they doing here?); Nature is something that continues to happen. Without us; does it exist at all without a complex awareness?

(The sun.); the irony of something resembling a bright “sky circle”; will give way to the adjacent rays that contradict it’s “flat” apparent visual appearance. Think of it: “a forever ending circle; gives way to the adjacent never ending straight lines that allow the projection of everything to exist”. Perhaps the sun is a passive portal of direct pattern information. Acting upon its passiveness allows information to transform and accumulate in an active format.

</fundamental ignorance.>

<wait how do i know you.>

(The fibonacci pattern within nature); the derivative of every pattern and sequence. The ratio of simultaneously building & deconstructing upon itself. The power source to a projected 3d reality may be within the opposing particles of any specific geometric vector.

(Light the ability to shine); Light Is a proportional contradiction to the natural patterns of the rooted sequences of the forward motion of existence. Darkness, as well as the light; is a sculpted space between the shared attributes of two infinities. The darkness prevails in the opposing and inverse aspects of the positively projected patterns. the dark is the destroyer of such inverted patterns to shape which light is allowed reflection upon.

(The light, the dark, the chaotic, and complete nothingness): For the darkness to have an absolute, the light must have its own opposing ends dipping into each others infinite realms. Even the infinite darkness exists within the spectrum of its opposing light. light reaches out with positive existence within the implosion of the negative.This will further exist a bubble of 3 dimensional space. The counteracting gradient flow of light to dark shares an intertwined exponential pattern of nothingness into something.

</wait how do i know you.>

<cant preform all actions so there is always something that i cant do>

(We are the midpoints of light and dark; from the the up and down); The light is within us as well as without us. We have the combined actions to 4d print light and choose our darkness. We allow physical existence to be seen from the augmented 5d octonion imagination seeds. We are a pattern of nature and opposing nature. The brain is the electrical resonator that formats the duality between light and dark; giving us the choice to prevail both advantages. We are the decision making midpoint of both infinities that our imagination can exist within.

(The universe is large nor small); The gray matter is the air that breathes within the decision making of “nothingness”. Without a gray area or the “universal stalemate”; There would be nothing to exist. The allowance nor the actual existence of “neutrality” is the gateway receiver and repeater that gives way to all shape and form. Nothing can be forced; for its leak into reality will happen within a natural pattern of an evolutionary existence. It is the danger between the forced balance that will eventually give way under natural neglect. The inspirational existence of gray areas do not actually exist.

(The gray is infinite, nor is it not); The fight will always be to exist. When nothing is fighting for something; it has a means to give way to the stagnant “standing waves” of the singularity to have the ability to become “something”.

(We must exist in both; for there will always be a fight); An imagination is linearly unquantifiable within its exact and infinite entirety. It is the intention wall: the rise to the fall. The irony and the subtle fight between all things of positive existence. Imaginative frequencies are gentle and peaceful. They share the same space to allow the intention to intend on any decision of choice. For if we are the absolute midpoint phenomenon between both infinities and influenced by gray matter. Than we are the existence of both things that do and don’t exist. The violent acts of nature are lower level necessity patterns that give way to the higher forms of awareness. We have the ability to outweigh and make decisions to shape the physical and imaginary realm simultaneously. We see projected light from the infinite realms of pure possibility. Freedom and advantage of all directions.

</cant preform all actions so there is always something that i cant do>

<hi…there is more… however make sure you take a mental step out of everything that you have ever learned to know; for it is required for the following>

(Take a step into hey there); Looking down the well of a naked earthling clientele that submitted themselves to make decisions on infinities. Seeds must maneuver themselves out of the dirt and into the midpoint of pure self intended existence. The flower is the midpoint of life. Fall back or continue into the tickled and trickled counterparts of its own dying self.

(Im done typing, and I don’t feel good); Not feeling good is the physical barrier; or the awareness into the pitfall of something to “end”. For it’s escape is only forward. Backwards is already traversed roads from which we are here now to experience the “moment” with.

(We have the advantage to shape the light); Our power to overpass darkness through the intention wall and into the light is inversely proportional to the geometric vector of information sent into infinity. We can read back what the opposing darkness has to say. For if we send what we wish into the light; the dark inverse of the physical structure will aid us in the higher levels of sending information in and receiving the negative space to build onto. Receive back the sacrifice form of the pure format of light that is sent out.

(Send process information into infinity): The feedback that we get is the tool and the shape that we live without. “Shared fundamental sacrifice in sympathetic shared harmonies”. Perhaps what appears to be ignorant really is automated nature inevitably acting on the physical appearance of reality.

(To break the rules a little): This earth perhaps. Everything is assembled from here. So it must be a product of some very fine detailed transformation assembly that exploits the physical laws of the universe to its own advantage. This rotational design allows the dynamic thresholds of physics to be precisely compressed, so anything that derives out of it’s design can easily access and direct its own plan; as if the universe has it’s own fruit to be picked. The earth is a large holistic battery that takes advantage of the exploitation of physics in a near perfect way. No physical laws are violated; however the precision of this design gets infinitely close in doing so, simulating what we call life… order, chaos and the balance between the two is all available here and now.

</hi…there is more… however make sure you take a mental step out of everything that you have ever learned to know; for it is required for the following>


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The Politics of Poetry

The Politics of Poetry

Philip Freneau wrote pieces for his era, an era of revolution and finding an identity as a country. His beliefs expanded and added to the policies we see in our modern lives, ideas put in place to establish this country as it is now. However, he isn’t known for this as well as hes known for his poetry. In this poetry Freneau doesn’t establish himself as, well, revolutionary. His poetry is simple, often not hard to understand and pick apart to find out its meanings. However, this is all a simple front to his issues, as V. F. Calverton states in his paper, “Philip Freneau: Apostle of Liberty”, “one cannot divorce Freneau’s poetry from his politics…”, This is the main point of argument Calverton puts forth, that the poetry and the politics are always together,  they thrived off each other and it’s how Freneau had such an influence on the country. Freneau was consistent in his use of political ideology in his poetry, barely stepping outside of it, and for the annals of history to obscure him for policy, and parade him for poetry, this method allows us to see the effect he had on policies, as well as appreciate the impact on our modern views he may have had. Personally I agree with Calverton’s point of argument, while some of his points I may not fully see, Freneau has little poetical skill, however, his skill in including his politics for viewing in his poetry, was his true genius.  

Following Calvertons paper, the first things Freneau put out stood to show his Anti-monarch belief, mentioning lines from The Poetical History of the Prophet Jonah and A Poem, on the Rising Glory of America”. These lines do serve to showcase the thoughts Freneau, satirizing, or merely showing disgust to the system. The former of the two poems is an example for the common satire seen in Freneaus work, referencing the work of the slaves under a pharaoh’s rule, only for death to leave them with nothing. An obvious satire of the system, as it states the uselessness of the whole thing, with the Pharaohs having, “worthless bones…”(Freneau 2) in their pyramids that they has the slaves build. This point the poem produces isnt exactly hidden, so I do agree with Calverton here, that his satire on the ruling status of the Pharaohs is shown, and through this is his idea on the idea of monarchy as a whole. The latter of the mentioned pieces is also very absolute in its view on the crown, stating that, “…Britain sure/ Will curse her fatal obstinacy.”(Freneau 3) This is an obvious reference to the crown continuing the restrictions on the colonies, holding them, and as the flames of revolution blaze, the crown will regret the attempts to have a steadfast hold. Freneau wrote this alongside Hugh Henry Brackenridge, displaying both of their political beliefs during this tumultuous era, further proving, that even with a co-author, the sheer point of politics in Freneaus work stands tall as the main point.   

Pushing forward in his paper, we see Calverton separate the eras of Freneaus work, stating that in both periods he fought with the same ferocity as in his youth and his work. This point I may not fully agree with, as Calverton states, Freneau focused on revolutionary matter, and then attacking the Hamiltons as his eras of work, but in this point you dismiss the works of Freneau pushing for freedom of others beyond the settlers. Freneau also writes pieces to commend the lost lives of the native peoples, the piece The Indian Burying Ground is such a piece that does so. Freneau states his own belief in the beginning of the piece, believing in “… the soul’s eternal sleep.” (Freneau 4) Yet he continues, respecting the beliefs of the Natives, and even appreciating them.Calverton himself mentions a part of Freneaus life where he wrote pieces on the slavery era and how he was an abolitionist. Freneau wrote to an owner on the principle of the slavery he utilized, comparing the slaves work to Hell itself.  Freneau did not just have a focus on the freedom of the country, or the kind of government to continue it, to believe so is to disregard his beliefs on the freedoms of all people, something the country took a bit longer to fully achieve.   

However, following Calvertons beliefs, the era of revolution, had Freneau stating many beliefs before that of the big wigs in the political scene. Calverton likens Freneau to Paine, stating both, “became the literary property of the army.” (Calverton) Boths works fuelled the rebellion, and with Freneau actually fighting in the war itself, the metaphor almost becomes literal. Calverton showcases the facts of Freneau publishing his poemEmancipation from British Dependence months earlier from the New Hampshire legislature disavowing independence in 1775 as a defining point of Freneaus influence, that he truly did speak before those recognized for such. Quoting the aforementioned text, Calverton states that it was not at all written to impress any literary credit or peer of the time. Calverton goes as far to state, that, “As poetry they are hopeless. He wrote them to stir a country…” This just pushes back to Calvertons main point, Freneau was a hopeless poet, a horrid writer, and yet, his ability to stir the fires of change in the hearts of the colonies was all there. He wrote his poem for his politics, they serve as merely as vessel to see the influence of Freneau. Freneau’s time in the war was also used to temper his beliefs. He served, fighting, then was captured and spent months on a prison ship, writing poems, soon released after he was. These poems were very much in the same vein, spouting hatred for the cruelty of the ship, and the British who could create such an environment.The point in this era is very much visible, that Freneau it merely using the vessel of poetry to rile up revolution and keep the flames stoked, without this his poems are not on par with real literary talent, despite the important content.

The second phase of writing for Freneau according to Calverton, the fight against the Hamiltons, occurs after the war, and shows Freneau attempting to keep the Democracy thriving for freedom. Not focused on writing the poems earning him his reputation, Freneau became an editor, and as Calverton states, “Reputations collapsed under the impact of his sledge-hammer attacks, and ultimately as his power increased a whole regime broke under the heat of his annihilating blows.” Freneau put Washington out to be a monarch in disguise, angering the president, to the point of name calling. This era and those after saw Freneau leave his poetry behind for more editing and the bashing of those he saw insufficient to run the true democracy of the people. Despite the lack of his own work, Calverton continues to focus on the fact that in all the work Freneau did, his beliefs were at the epicenter of it all, going so far as to swear on oath for his beliefs  (and verbally attacking Hamilton publicly on many occasions).

    In the end, I do mostly agree with Calverton, that Philip Freneau did not write or work in literature to astound, or to be a great writer, but to spread his beliefs, as it was the main method of the time. The poetry may have been subpar, or lacking entirely, but the ideals behind it held influence to the Revolution, and the law making afterwards, lending us, in part, our modern system. I do disagree with Calverton on the simple separation of era based on who he was fighting in his literature, as Freneau had major focuses on the freedom of all men on top of it all. He stood for a true, free, and natural democracy in the country he fought for, for all people, and to chalk that to his current enemies and not his point of action, seems to disregard that factor. Personally it should have been an era of Fighting for Freedom, followed by one for Securing Freedom in his works, however, this is all very nit picky. At the end of it all, I agree, Freneau utilized a system of his time to spread his belief, that you cannot separate these things, or risking damaging either of the pieces.


Works Cited

Calverton , V.  F. “Philip Freneau: Apostle of Liberty.” Gale Literary Sources , 1933, (Calverton)

“The History of the Prophet Jonah.” Poem: The History of the Prophet Jonah by Philip Freneau, (Freneau 2)

Erbs, Ben. “A Poem, On The Rising Glory Of America.”, 1 Jan. 2004, (Freneau 3)

Freneau, Philip. “The Indian Burying Ground by Philip Freneau.” Poetry Foundation, Poetry Foundation, (Freneau 4)

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