to the whore who took my poems some say we should keep personal remorse from thepoem,stay abstract, and there is some reason in this,but jezus;twelve poems gone and I don't keep carbons and you havemypaintings too, my best ones; its stifling:are you trying to crush me out like the rest of them?why didn't you take my money? they usually dofrom the sleeping drunken pants sick in the corner.next time take my left arm or a fiftybut not my poems:I'm not Shakespearebut sometime simplythere won't be any more, abstract or otherwise; here'll always be mony and whores and drunkardsdown to the last bomb,but as God said,crossing his legs,I see where I have made plenty of poetsbut not so very muchpoetry. "to the whore who took my poems" Copyright© 1974 by Charles Bukowski. From Burning in Water, Drowning in Flame. Selected poems 1955 - 1973. Black Sparrow Press, 1986. First published in It Catches My Heart in Its Hands, 1963.Onte falamos bastante sobre a socioloxía do corpo no mundo romano, e rematamos lembrando que a linguaxe obscena ía ligada, nos textos literarios, a determinados temas e xéneros literarios, dun xeito moi establecido. Recordei, tamén, que iso era o mesmo caso que a posibilidade de que un Francisco de Quevedo, por exemplo, se movera en rexistros tan diferentes como o poema de amor petrarquista e os poemas satíricos de linguaxe áspera e obscena. Un bó exemplo disto é o poema anterior, de Charles Bukowski, escrito en 1963, e que lembra considerablemente a experiencia poética que Catulo describe no seu poema 42: adeste hendecasyllabiAdeste, hendecasyllabi, quot estis omnes, undique, quotquot estis omnes. iocum me putat esse moecha turpis, et negat mihi nostra reddituram pugillaria, si pati potestis. persequamur eam et reflagitemus. quae sit, quaeritis? illa, quam videtis turpe incedere, mimice ac moleste ridentem catuli ore Gallicani. circumsistite eam, et reflagitate: 'moecha putida, redde codicillos, redde, putida moecha, codicillos!' non assis facit? o lutum, lupanar, aut si perditius potes