John Fante - Ask the Dust

"This is an important and an intermittently beautiful novel. Rebel Inc, a stylish, gutsy and necessary imprint, is to be commended for getting a noteworthy and unfairly neglected novel back into attractive and unignorable print." THE HERALD

"Bandini is a magnificent creation, and his rediscovery is not before time."

TIMES LITERARY SUPPLEMENT "A tough and beautifully realised tale ... affecting, powerful and poignant stuff. Fante was capable of expressing thought and experience with an honesty that was as intimate as it was evocative, and as

magical as it was true." TIME OUT

JOHN FANTE ASK THE DUST

Introduced by CHARLES BUKOWSKI
Arturo Bandini is a struggling writer lodging in a seedy LA hotel. While basking in the glory of having had a single short story published in a small magazine, he meets local waitress Camilla Lopez and they embark on a strange and strained love-hate relationship. Slowly, but inexorably, it descends into the realms of madness.
Ask the Dust is one of the truly great, yet unsung, American novels of the twentieth century. A tough and unsentimental story with a soft and tender heart, it remains as fresh and affecting as the day it was written. ISBN 0-86241-987-5

6.99

Design: Angus Hyland @ Pentagram Photography: Peter Ross. 1998
A REBEL INC CLASSIC

Rebel Inc Classics

Born in Denver on 8 April 1909, John Fante migrated to Los Angeles in his early twenties. Classically out of place in a town built on celluloid dreams, Fante's literary fiction was full of torn grace and redemptive vengeance. Ask the Dust was his second novel in a life that spanned seventyfour years and which included numerous works of fiction and film sceenplays. He was posthumously recognised in 1987 with a Lifetime Achievement Award by PEN, Los Angeles four years after his death from diabetes-related complications.

Praise for Ask the Dust
'One of the lost souls of American letters, an author whose work has an almost legendary stature among writers and critics but remains curiously unknown to the public at large.' Los Angeles Times 'The humour and the pain are intermixed with a superb simplicity ... A wild and enormous miracle.'

Charles Bukowski
'A criminally neglected American writer.' Time Out
'An absolutely brilliant piece of work... this book is spot on.' Drooghi
'This novel still has "the magic"... and just another fantastic re-issue by those people at Rebel Inc.'

The Crack
'Fante's engagingly odd novel, published in 1939. influenced
Charles Bukowski; its ironic tone and bizarre touches are reminiscent of Gogol or Hamsun.' Scotland on Sunday
'The universe of John Fante's fiction is so immediately moving, so poetically vivid, that it's hard to decide which is the greater quandary: that it went so long unrecognised, or that in the factitious worlds of publishing and Hollywood it's receiving such enormous recognition today.' The Boston Review 'If there's a better piece of fiction written about LA I don't know about it.' Robert Towne, Scriptwriter for Chinatown
'One of the premier American writers of the century. Extraordinary.' Bob Shacochis, Vogue

Ask the Dust

John Fante

Introduction by Charles Bukowski
First published in Great Britain in 1998 by Rebel Inc,
an imprint of Canongate Books Ltd, 14 High Street,
Edinburgh EH1 ITE
This edition first published in 1999 10 987654321
Copyright John Fante, 1939, 1980 Introduction Copyright Charles Bukowski, 1980
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available on
request from the British Library
ISBN 0 86241 987 5
Rebel Inc series editor: Kevin Williamson www.rebelinc.net
Typeset by Palimpsest Book Production, Polmont, Stirlingshire
Printed and bound in Scotland by Caledonian International Book Manufacturing Ltd, Glasgow
For Joyce, with love

Introduction
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 bog - to 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 Maths was just like Religion: it ran right off me. What / 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.
Thirty-nine 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 favourite 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.