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Copy of Howl: the Mind, Body, & Soul of the Poem The Body, The Mind, The Soul Is Holy The use of the divine trinity through Allen Ginsberg’s Howl to create the common man as he should be For some, a first time reading of Allen Ginsberg's most well known poem can be like an electrical shock. Purposefully nonsensical in parts, filled with vivid images meant to be understood at a glance, lines that seem to flow over the page twisting into two or three lines a piece, and all written in a voice that goes between energetic, hopeless, elevated, and slightly sarcastic “Howl” can be a very difficult work to fully grasp with just one read through, but certainly it has the power to leave behind a very definite impression. Readers may not be able to summarize right off the cuff all that transpired in the one hundred and twelve lines of the poem but are left with the definite impression that something happened and, if they could put their finger on just what it was, it seemed like it might be something important or else utterly madness sprouted by a crazed lunatic. Occasionally, no matter how many times read in review, it can be hard to tell which it truly is, and as confounding as that may be at times, it is also part of the poem's purpose. When “Howl” was originally published in 1956 it was unlike anything most people had ever read, and even now can be a frighteningly unfamiliar experience. Madness is simply part of it's message, one of the many experiences undergone by the various figures in the poem in order to reach a state of divinity. “Howl” proposes that the sublime is not limited to gods or higher beings, that it is not just attainable by humans but is in fact part of their natural state of being. How Ginsberg goes uncovering this in “Howl” is part of what creates the works dense, circular narrative and intense moments of imagery. “Howl” breaks man does into a trinity – the body, the mind, the soul – and attempts then to connect each part back to it's natural state and strip away the culturally learned limitations on each in order to achieve a spiritual awakening. Many of the stories surrounding the inspiration, creation and eventual publication of “Howl” have become common enough in literary circle and retold in so many an anthologies of contemporary poets as to have developed a somewhat mythic quality, heavily influenced and encouraged by the poet himself. Inspired by other poets, most famously William Blake, Ginsberg hoped to capture in his work the voice of a modern American visionary. In a beat manifesto entitled The Literary Revolution in America, Ginsberg along with fellow poet Gregory Corso would write that America now had poets who would give an angelic voice to unimaginable dreams, a rather lofty promise but telling of how Ginsberg saw himself. In this same article the two poets recalled the now famous Six Gallery reading which, although only two years old at this point, already was turning into legend. “The reading was delivered by the poet, rather surprised at his own power,” it says in reference to the debut of “Howl” to the mostly drunk group of writers and friends. “he read, driving forward with a strange ecstatic intensity, delivering a spiritual confession to an astounded audience – ending in tears which restored to American poetry the prophetic consciousness it had lost...”1. As bold an assertion as this may seem, it shows the way in which Ginsberg saw poetry, and this poem in particular, as a spiritual experience. Therefore, in many ways the poem “Howl” serves as a physical personification meant to contain this divine energy, the style and language simply a way for readers to have access to it's supernatural intensity. Part of the way that Ginsberg has created the prophetic voice that resonates through out “Howl” is not only in the theme and language, but in how structure formation of the text. The body of the poem is divided into three sections (with a slightly later addition of the “Footnote To Howl”), each with it's own meter, style, language devises, and even story elements. Yet while each section could be read separate from the others, the combination of the three allows access to the poet's fullest vision. So any attempt to explore the parts of the human exploited in the text must also reference that other crucial trinity of the poem. The first section of “Howl”, often called the catalog due to it's stylistic similarities with the listed verse style of Walt Whitman, begins with something of a trick, because with no warning or set up the first line is actually the reveal. “I saw the best minds of my generation destroyed by madness,” Ginsberg writes, and so leads the reader on a trip through various incident that may drive a man to insanity. The story is one of total destruction, at first without much reason, and while Ginsberg employees a number of literary techniques that may distort the precise meanings of certain lines, in place of logical sentences are left impressions of something visceral and damaged. Here the human get divided into three parts represented in various images and forms but mostly referred to as the classical trinity known as the body, the mind, and the spirit. All three are introduced within the imagery of the first three lines, but for the bulk 1Corso, Gregory, and Allen Ginsberg. “from The Literary Revolution in America.” Howl: 50th Anniversary Edition. New York: Harper Perennial. 2006: 165-166. of the catalog the concentration stays on the body and mind. While “Howl” may be unconventional in many ways, the first four lines do essentially setup for the reader where the story will lead, and Ginsberg starts the narration by giving a purpose or at least current condition of the mind, body, and spiritual. I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, angelheaded hipsters burning for the ancient heavenly connection to the starry dynamo in the machinery of night, who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz 2 Already Ginsberg revels that these angelheaded hipsters drive themselves not only to madness, but that they are dragging themselves through it, that they are in a state of hysterics, that their bodies are naked and starving, but not without purpose. Even before the ending of the first section where the energy and tone of the poem are more fully realized, already there is a clear statement of purpose in the search for something spiritual. After the first two lines where the words are nearly perverse and heavy with negative meaning the third suggests the sublime. Those who were said to be utterly destroyed are now called “angelheaded”, bringing to mind cherubs and innocents on top of the religious imagery. While before they were looking for what is assumed to be drugs, and Ginsberg punctuations are possible negative association towards drugs with the physicality of these naked bodies having to claw there way down dark streets, even throwing in the word angry to personify and even villainous these drugs, now they are in search of a connection to the heavens. In her study on Ginsberg and his use of language, Amy Hungerford brings together a number of quotes from the poet on why he would rather people read his poetry and felt an immediately understanding rather than take time to form an intellectual response. Hungerford goes on to argue that, “representational poetry often seems so obviously thematic” due to the 2 Ginsberg, Allen. Howl: 50th Anniversary Edition. New York: Harper Perennial. 2006. use of supernatural language that Ginsberg needed in order to effect the conscious instead of outright persuade the reader. While the language may not be put together in a way that would be accepted by a grammar teacher, it has to be strong enough to suggest what it cannot out right say. So lines such as the third, which bring into the poem the mission of elevating to the sublime, must create in the reader a different reaction than those of the body and mind. Hungerford goes on to name a history of poets who have believed that the sounds in a poem must carry with it a specific sense3. One could postulate that each line of the catalog proper comes intoned in a way that suggests mind, body, or spirit. In the fourth line, for instance, Ginsberg's language stays calm and mystic, changing “negro streets” to “supernatural darkness” and taking the description of “starving hysterical naked” in the first passage and recalling it with softer terms in the phrase, “who poverty and tatters and hollow-eyed” (lines 2, 4). The shock contained in the first couple of lines in how quickly the characters go from victims of madness and drugs to angelic figures with a higher purpose continues throughout the text, and as Hungerford suggestions the theme manifests itself very clearly even without an exact meaning. Already the spiritual has become to idea, and so the tone of those lines becomes softer, and so the catalog turns mostly to the attention of the mind body. If any line best captures the story of the flesh the way the first line works for the mind, it would be the moment Ginsberg writes, “who ate fire in paint hotels or drank turpentine in Paradise Alley, death, or purgatoried their torsos night after night / with dreams, with drugs, with waking nightmare, alcohol and cock and endless balls.” (10-11) This two line description uses visceral language while calling back to the theme of the first section.
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