69 pages • 2-hour read
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Content Warning: This section of the guide includes discussion of substance use.
In Post Office, Charles Bukowski portrays Hank Chinaski’s resistance to authority as both a personal creed and a reaction to the dehumanizing structure of bureaucratic labor. The Postal Service’s impossible delivery routes, rigid hierarchies, and mechanical repetition reflect mid-century American occupational conformity, a system designed to reward obedience and punish individuality. From the beginning, Hank recognizes that the institution values subservience over competence. His work as a substitute carrier exposes him to supervisors who wield petty power through arbitrary rules and constant surveillance. Instead of conforming, Hank undermines authority through sarcasm, deliberate carelessness, and minimal compliance. When faced with the cruelty of his supervisor, Jonstone, he refuses to “suck up” or perform false respect, even when it means losing work. His informal resistance is neither heroic nor organized: It’s a series of instinctive, everyday refusals that allow him to preserve his autonomy within a system built to erase it.
Hank’s interactions with Jonstone, whose tyranny defines Hank’s early years at the post office, form the basis for his aversion to authority throughout the rest of the novel. Jonstone withholds routes, assigns impossible workloads, and writes Hank up for trivial infractions. Hank describes Jonstone as a “bullneck” and “a man of such obvious cruelty” that he can’t imagine who allowed him to occupy a position of power (15). Jonstone represents the entrenched cruelty of bureaucratic power; he’s an individual who hides behind rules and procedures to assert dominance. The system itself is designed to protect figures like Jonstone. When Hank files a 30-page complaint, hoping to expose the abuse, the response from management isn’t reform but mockery. The official who reads his report berates him for using too many big words, a moment that demonstrates how bureaucracies reduce language, intellect, and dissent to threats. Instead of changing the system, Hank learns that the only way to survive it is to stop caring. The only result of his complaint is that Jonstone quietly retaliates by withholding work from him or assigning him the worst routes available. Hank’s interactions with him reveal the futility of confronting authority directly. When Jonstone enforces unreasonable rules or humiliates workers, Hank responds with caustic wit rather than submission. His defiance exposes the absurdity of a system in which authority is arbitrary and power exists only for its own preservation.
Later, when Jonstone reprimands him for breaking minor rules, Hank responds with indifference, discarding the disciplinary slips unread. His attitude of noncompliance becomes a quiet protest against meaningless control. Even when his rebellion costs him stability, it preserves his sense of self. Hank works for the Postal Service for 12 soul-sucking years, enduring maltreatment by petty authoritarians like Jonstone. However, the final straw that causes him to resign is when his old work buddy, Tom Moto, a former ally against Jonstone, becomes a supervisor. By becoming a supervisor, Tom represents a level of success that Hank never achieves, but it comes at the cost of completely assimilating into the system. Hank’s resignation is his most decisive act of resistance. After years of enduring the grind, he walks away from what society deems a “good job.” His decision isn’t triumphant but an assertion of his humanity. Bukowski frames this rejection of authority as both self-destructive and liberating: Hank loses security but regains his freedom to live on his own terms.
Aside from his writing, Charles Bukowski was best known for his prodigious consumption of alcohol, a trait that defined both his public persona and that of his fictional alter ego, Hank Chinaski. In Post Office, alcohol functions as both a symptom and a solution, reflecting Hank’s attempt to dull the psychological pain of repetitive labor, loneliness, and disillusionment. Drinking becomes his primary method of coping with the demands of a life that offers no meaningful reward. Early on in the novel, he spends most nights drinking with his partner, Betty, only to rise a few hours later for work at the post office. The physical toll is severe, yet Hank continues to choose alcohol over comfort or security. His decision to spend his limited wages on beer and whiskey rather than shoes that protect his feet illustrates his misplaced priorities and his dependence on alcohol as emotional anesthesia. The rain-soaked routes, exhaustion, and sense of futility all reinforce his dependence on drink as a small rebellion against a system that otherwise strips him of purpose.
Hank’s relationship with alcohol mirrors his broader resistance to the authority and structure that dominate his life. His drinking isn’t purely indulgence but also a form of escape from the crushing monotony of his work and constant humiliation from supervisors like Jonstone. Bukowski presents this dependence without sentimentality or moral judgment. Hank drinks to survive the emptiness of his days, and in doing so, he perpetuates the very despair he seeks to avoid. His relationship with Betty exemplifies this destructive cycle. The two find temporary companionship through drinking, but their connection is built on avoidance rather than intimacy. When Hank reunites with her and sees her decline, he warns her to slow down, revealing an awareness of the danger that he can’t escape. Betty’s eventual death from alcohol addiction demonstrates the fatal consequences of using alcohol as a substitute for meaning or hope.
Hank’s most extreme binge occurs after he quits the Postal Service. The sudden freedom from institutional control leaves him directionless, and the resulting drinking spree nearly kills him. However, this collapse becomes a turning point. In his lowest state, Hank recognizes that he must write to survive. The realization doesn’t cure his addiction, but it transforms his self-destructive impulse into a creative drive. Through Hank, Bukowski portrays alcohol addiction as both a symptom of despair and a dark form of endurance. Drinking becomes the means by which Hank confronts, and occasionally transcends, the meaninglessness of his existence.
Repetitive labor can cause much cumulative damage to one’s body over the course of a lifetime. In Post Office, Bukowski demonstrates the dehumanizing effects of repetitive, menial labor through the deterioration of both body and spirit among postal workers. The post office, with its endless repetition and arbitrary rules, is emblematic of the way that such labor consumes individuality and vitality. Through Hank Chinaski’s sardonic point of view, Bukowski transforms the mundane realities of work into a study of slow annihilation, where the price of survival is one’s health and happiness. Early in the novel, Hank observes the toll the job takes on his coworker, G.G. Despite his reputation as a good man, a misunderstanding leads to unjust accusations of child molestation against G.G. With no support from his superiors, his spirit breaks, and the years of mechanical motion on the job leave him physically and mentally spent. Hank is present for G.G.’s final breakdown:
Although G.G. knew his case was upside down, his hands were slowing. He had simply stuck too many letters in his life—even his sense-deadened body was finally revolting […] I wasn’t particularly fond of the man […] But each time he faltered, something tugged at me. It was like a faithful horse who just couldn’t go anymore. Or an old car, just giving up one morning (45).
Hank’s pity for G.G., despite his indifference to most people, reveals his growing awareness that this fate is inevitable for anyone trapped in the postal system. G.G.’s decline reflects the slow disintegration of will and purpose that comes from years of repetitive work; his body itself becomes a metaphor for exhaustion and obsolescence.
Bukowski extends this theme in Hank’s description of Jimmy Potts, another postal worker destroyed by decades of monotonous service: “When I first came in, Jimmy had been a well-built guy […] now he was gone. He was too tired to get a haircut and had worn the same pair of pants for three years […] They had murdered him. He was 55. He had seven years to go before retirement” (179). The reference to murder transforms bureaucratic labor into a slow, institutionalized form of violence. A system that measures worth only in endurance has consumed Jimmy’s body and spirit. Hank’s grim observation turns the workplace into a kind of factory of decay, where time replaces physical violence as the weapon. The effects of this environment are visible in anyone who interacts with it. Hank notes, “They either melted or they got fat, huge, especially around the ass and the belly. It was the stool and the same motion and the same talk” (179). The repetitive physical postures and monotonous conversations not only deform the body but also shrink the imagination. The uniformity of these bodies mirrors the uniformity demanded by the institution in which workers literally become shaped by their labor. Hank himself isn’t immune to this transformation. He reflects on his own physical decline:
And there I was, dizzy spells and pains in the arms, neck, chest, everywhere. I slept all day resting up for the job. On weekends I had to drink in order to forget it. I had come in weighing 185 pounds. Now I weighed 223 pounds. All you moved was your right arm (179).
The weight gain and repetition of tasks incrementally create not only physical collapse but existential and spiritual paralysis. The system reduces the human body and spirit, meant for motion and freedom, to a single repetitive gesture. Hank’s body becomes the clearest record of the system’s violence, proof that menial labor ultimately consumes the laborer.



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