Throughout the works of Charles Bukowski, the themes of conflict and competition are recurrent, often encapsulated by the term "dogfight." This motif appears across four poems with similar titles: "dogfight" in Burning in Water, Drowning in Flame (1974); "Dog Fight" in Charles Bukowski’s Horses Don’t Bet on People and Neither Do I (1984); "dog fight 1990" in what matters most is how well you walk through the fire (1999); and "dogfight over L.A." in Open All Night: New Poems (2000). These pieces reveal the underlying tensions in Bukowski’s world, expressing antagonism and aggression both literally and metaphorically.

The 1974 "dogfight" paints a vivid scene of an actual brawl between two dogs owned by two individuals from contrasting social backgrounds—a blue-collar worker and a white-collar professor. This encounter stands as a microcosm of their owners’ societal clash. In contrast, the subsequent poems from 1984, 1999, and 2000 adopt the "dogfight" concept metaphorically, transforming it into a symbol for heated human interactions.

In the lengthy 2000 poem, "dogfight" is used to describe the speaker’s protracted rivalry with a charming, socially adept intellectual. This struggle is likened to aerial combat, known as "dogfighting" among fighter pilots, highlighting the intense personal conflict experienced by the narrator. Meanwhile, the 1984 and 1999 poems, which are closely related with the latter being a revised version of the former, capture the chaotic atmosphere of Los Angeles traffic.

These two versions share a dynamic plot and strong characterization, aspects that are quintessential in Bukowski’s literary style. The protagonist finds himself embroiled in a vehicular confrontation, initiated by a tailgating driver. This incident escalates into a dramatic sequence of high-speed maneuvering through the streets of Compton and Inglewood, stretching to the edge of Los Angeles International Airport. As the protagonist navigates this urban battleground, a third participant in a Mercedes joins the fray.

The closing lines of these poems succinctly describe the shifting positions of the three drivers as they near LAX:

1-2-32-3-13-2-1.

Here, "1" represents the speaker, "2" likely the Mercedes driver, and "3" the initial antagonist. This vehicular ballet encapsulates broader American themes of skill, power, freedom, and the ironies inherent in conflict and aggression. Through these poems, Bukowski not only portrays the visceral nature of human and societal battles but also reflects on the cultural values that shape these interactions.

Charles Bukowski's poem underwent significant stylistic evolution between its 1984 and 1999 versions, reflecting changes both in language and tone. The earlier version, with its terse and vivid language, brings the vehicular dogfight to life, creating a sense of urgency and raw emotion. The later version, however, softens this intensity, altering language and punctuation to provide a more refined but less frenetic experience of the poem.

Alterations in Diction and Imagery

In the 1984 version, Bukowski employs aggressive diction, such as the tailgater drawing "up against" the speaker’s rear bumper, crafting a vivid image of confrontation. This is contrasted with the gentler "up to" found in the 1999 version. Similarly, in 1984, the phrase "I can see his head in the rear view mirror" emphasizes the antagonist's menacing blue eyes more forcefully than "I can see his face in the rear view mirror" from 1999. These choices in diction underscore the poem's original confrontational tone, which becomes more diluted in the revised version.

Subtle Shifts in Formality

The 1984 version features formal phrases like "I engage myself upon/ his rear bumper," suggesting an ironic knightly duel within a modern urban setting. This playful, somewhat archaic language enhances the humor and drama of the encounter, a tone less apparent in the 1999 version, which opts for straightforward language such as...