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“Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (Guest Post)*
“Howl”—Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by David Wills (guest post)* Allen Ginsberg, c. 1959 The Poem That Changed America It is hard nowadays to imagine a poem having the sort of impact that Allen Ginsberg’s “Howl” had after its publication in 1956. It was a seismic event on the landscape of Western culture, shaping the counterculture and influencing artists for generations to come. Even now, more than 60 years later, its opening line is perhaps the most recognizable in American literature: “I saw the best minds of my generation destroyed by madness…” Certainly, in the 20h century, only T.S. Eliot’s “The Waste Land” can rival Ginsberg’s masterpiece in terms of literary significance, and even then, it is less frequently imitated. If imitation is the highest form of flattery, then Allen Ginsberg must be the most revered writer since Hemingway. He was certainly the most recognizable poet on the planet until his death in 1997. His bushy black beard and shining bald head were frequently seen at protests, on posters, in newspapers, and on television, as he told anyone who would listen his views on poetry and politics. Alongside Jack Kerouac’s 1957 novel, “On the Road,” “Howl” helped launch the Beat Generation into the public consciousness. It was the first major post-WWII cultural movement in the United States and it later spawned the hippies of the 1960s, and influenced everyone from Bob Dylan to John Lennon. Later, Ginsberg and his Beat friends remained an influence on the punk and grunge movements, along with most other musical genres. -
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies At
Lawrence Ferlinghetti, Poet Who Nurtured the Beats, Dies at 101 An unapologetic proponent of “poetry as insurgent art,” he was also a publisher and the owner of the celebrated San Francisco bookstore City Lights. By Jesse McKinley Feb. 23, 2021 Lawrence Ferlinghetti, a poet, publisher and political iconoclast who inspired and nurtured generations of San Francisco artists and writers from City Lights, his famed bookstore, died on Monday at his home in San Francisco. He was 101. The cause was interstitial lung disease, his daughter, Julie Sasser, said. The spiritual godfather of the Beat movement, Mr. Ferlinghetti made his home base in the modest independent book haven now formally known as City Lights Booksellers & Publishers. A self-described “literary meeting place” founded in 1953 and located on the border of the city’s sometimes swank, sometimes seedy North Beach neighborhood, City Lights, on Columbus Avenue, soon became as much a part of the San Francisco scene as the Golden Gate Bridge or Fisherman’s Wharf. (The city’s board of supervisors designated it a historic landmark in 2001.) While older and not a practitioner of their freewheeling personal style, Mr. Ferlinghetti befriended, published and championed many of the major Beat poets, among them Allen Ginsberg, Gregory Corso and Michael McClure, who died in May. His connection to their work was exemplified — and cemented — in 1956 with his publication of Ginsberg’s most famous poem, the ribald and revolutionary “Howl,” an act that led to Mr. Ferlinghetti’s arrest on charges of “willfully and lewdly” printing “indecent writings.” In a significant First Amendment decision, he was acquitted, and “Howl” became one of the 20th century’s best-known poems. -
The 1957 Howl Obscenity Trial and Sexual Liberation
Portland State University PDXScholar Young Historians Conference Young Historians Conference 2015 Apr 28th, 1:00 PM - 2:15 PM A Howl of Free Expression: the 1957 Howl Obscenity Trial and Sexual Liberation Jamie L. Rehlaender Lakeridge High School Follow this and additional works at: https://pdxscholar.library.pdx.edu/younghistorians Part of the Cultural History Commons, Legal Commons, and the United States History Commons Let us know how access to this document benefits ou.y Rehlaender, Jamie L., "A Howl of Free Expression: the 1957 Howl Obscenity Trial and Sexual Liberation" (2015). Young Historians Conference. 1. https://pdxscholar.library.pdx.edu/younghistorians/2015/oralpres/1 This Event is brought to you for free and open access. It has been accepted for inclusion in Young Historians Conference by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. A HOWL OF FREE EXPRESSION: THE 1957 HOWL OBSCENITY TRIAL AND SEXUAL LIBERATION Jamie L. Rehlaender Dr. Karen Hoppes HST 201: History of the US Portland State University March 19, 2015 2 A HOWL OF FREE EXPRESSION: THE 1957 HOWL OBSCENITY TRIAL AND SEXUAL LIBERATION Allen Ginsberg’s first recitation of his poem Howl , on October 13, 1955, at the Six Gallery in San Francisco, ended in tears, both from himself and from members of the audience. “The people gasped and laughed and swayed,” One Six Gallery gatherer explained, “they were psychologically had, it was an orgiastic occasion.”1 Ironically, Ginsberg, upon initially writing Howl , had not intended for it to be a publicly shared piece, due in part to its sexual explicitness and personal references. -
The Impact of Allen Ginsberg's Howl on American Counterculture
CORE Metadata, citation and similar papers at core.ac.uk Provided by Croatian Digital Thesis Repository UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Vlatka Makovec The Impact of Allen Ginsberg’s Howl on American Counterculture Representatives: Bob Dylan and Patti Smith Submitted in partial fulfillment of the requirement for the M.A.in English Language and Literature and Italian language and literature at the University of Rijeka Supervisor: Sintija Čuljat, PhD Co-supervisor: Carlo Martinez, PhD Rijeka, July 2017 ABSTRACT This thesis sets out to explore the influence exerted by Allen Ginsberg’s poem Howl on the poetics of Bob Dylan and Patti Smith. In particular, it will elaborate how some elements of Howl, be it the form or the theme, can be found in lyrics of Bob Dylan’s and Patti Smith’s songs. Along with Jack Kerouac’s On the Road and William Seward Burroughs’ Naked Lunch, Ginsberg’s poem is considered as one of the seminal texts of the Beat generation. Their works exemplify the same traits, such as the rejection of the standard narrative values and materialism, explicit descriptions of the human condition, the pursuit of happiness and peace through the use of drugs, sexual liberation and the study of Eastern religions. All the aforementioned works were clearly ahead of their time which got them labeled as inappropriate. Moreover, after their publications, Naked Lunch and Howl had to stand trials because they were deemed obscene. Like most of the works written by the beat writers, with its descriptions Howl was pushing the boundaries of freedom of expression and paved the path to its successors who continued to explore the themes elaborated in Howl. -
Obscene Odes on the Windows of the Skull": Deconstructing the Memory of the Howl Trial of 1957
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 12-2013 "Obscene Odes on the Windows of the Skull": Deconstructing the Memory of the Howl Trial of 1957 Kayla D. Meyers College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the American Studies Commons Recommended Citation Meyers, Kayla D., ""Obscene Odes on the Windows of the Skull": Deconstructing the Memory of the Howl Trial of 1957" (2013). Undergraduate Honors Theses. Paper 767. https://scholarworks.wm.edu/honorstheses/767 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “Obscene Odes on the Windows of the Skull”: Deconstructing The Memory of the Howl Trial of 1957 A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in American Studies from The College of William and Mary by Kayla Danielle Meyers Accepted for ___________________________________ (Honors, High Honors, Highest Honors) ________________________________________ Charles McGovern, Director ________________________________________ Arthur Knight ________________________________________ Marc Raphael Williamsburg, VA December 3, 2013 Table of Contents Introduction: The Poet is Holy.........................................................................................................2 -
Beat Generation and Postmodernism: Deconstructing the Narratives of America
2015 Beat Generation and Postmodernism: Deconstructing the Narratives of America Nicolas Deskos 10623272 MA Literary Studies: English Literature and Culture Supervisor: Dr Roger Eaton University of Amsterdam Contents Introduction 3 The American Dream 3 The Beat Generation 5 Postmodernism 8 Outline 9 Chapter 1: On the Road to a Postmodern Identity 11 Promise of the Road and Its Reality 12 What it Means to Be American 15 Searching for a Transcendent Identity 17 Chapter 2: Deconstructing Burroughs’ ‘Meaningless Mosaic’ 22 Language as a System of Control 23 Metafiction in Naked Lunch 27 Chapter 3: Ginsberg’s Mythical Heroes 32 Fragmentation of the Self 34 Heroes of the Past 39 Conclusion 43 Works Cited 47 2 Introduction This research aims to reinterpret and recontextualise the principal Beat writers – Jack Kerouac, Allen Ginsberg, and William S. Burroughs – from the theoretical perspective of postmodernism. I aim to go beyond the traditional interpretation of the Beat Generation as a countercultural, counterhegemonic movement and challenge the “binary opposition between the establishment culture and a dissenting counterculture” (Martinez 7). Through the interpretative paradigm of postmodernism, I want to show that the Beat writers were concerned with the tension between the myths of America and its reality, appropriating one’s identity in the face of a dominant culture, and questions surrounding being, existence and reality. In doing so, I will locate their texts within the discourses of the mainstream as opposed to at its margins. Thus, I will argue that Burroughs, Kerouac and Ginsberg deconstruct, in their own ways, the official and mythical narratives of America, particularly the narrative on which the country is built: the American Dream. -
Kaddish Y Otros Poemas (1958-1960)
www.elboomeran.com Allen Ginsberg Kaddish y otros poemas (1958-1960) Epílogo de Bill Morgan Traducción de Rodrigo Olavarría EDITORIAL ANAGRAMA BARCELONA 001-216 Kaddish.indd 5 05/05/2014 18:28:13 www.elboomeran.com Título de la edición original: Kaddish and Other Poems: 1958-1960 City Lights Books San Francisco, 1961 Queremos manifestar nuestro agradecido reconocimiento a Peter Hale, del Allen Ginsberg Trust, por autorizar la reproducción de fotografías de Allen Gins- berg, facsímiles del manuscrito original, el ensayo «Cómo ocurrió “Kaddish”» y el retrato de Allen Ginsberg que perteneció a Naomi Ginsberg. Diseño de la colección: Julio Vivas y Estudio A Ilustración: foto © Allen Ginsberg Collection Primera edición: junio 2014 © De la traducción, Rodrigo Olavarría, 2014 © Del epílogo, Bill Morgan, 2010 © Allen Ginsberg, 1961 © EDITORIAL ANAGRAMA, S. A., 2014 Pedró de la Creu, 58 08034 Barcelona ISBN: 978-84-339-7897-4 Depósito Legal: B. 9776-2014 Printed in Spain Reinbook Imprès, sl, av. Barcelona, 260 - Polígon El Pla 08750 Molins de Rei 001-216 Kaddish.indd 6 08/05/2014 15:20:24 www.elboomeran.com Dedicado a Peter Orlovsky en el Paraíso «Prueba el sabor de mi boca en tu oreja» 001-216 Kaddish.indd 7 05/05/2014 18:28:13 www.elboomeran.com KADDISH For Naomi Ginsberg, 1894-1956 I Strange now to think of you, gone without corsets & eyes, while I walk on the sunny pavement of Greenwich Vil- lage. downtown Manhattan, clear winter noon, and I’ve been up all night, talking, talking, reading the Kaddish aloud, listening to Ray Charles blues shout -
America Singing Loud: Shifting Representations of American National
AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Thesis Submitted to The College of Arts and Sciences of the UNIVERSITY OF DAYTON In Partial Fulfillment of the Requirements for The Degree of Master of Arts in English Literature By Eliza K. Waggoner Dayton, Ohio May 2012 AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Name: Waggoner, Eliza K. APPROVED BY: ____________________________________________________ Albino Carrillo, MFA Committee Chair ____________________________________________________ Tereza Szeghi, Ph.D. Committee Member ____________________________________________________ James Boehnlein, Ph. D. Committee Member ii ABSTRACT AMERICA SINGING LOUD: SHIFTING REPRESENTATIONS OF AMERICAN NATIONAL IDENTITY IN ALLEN GINSBERG AND WALT WHITMAN Name: Waggoner, Eliza K. University of Dayton Advisor: Mr. Albino Carrillo Much work has been done to study the writings of Walt Whitman and Allen Ginsberg. Existing scholarship on these two poets aligns them in various ways (radicalism, form, prophecy, etc.), but most extensively through their homosexuality. While a vast majority of the scholarship produced on these writers falls under queer theory, none acknowledges their connection through the theme of my research—American identity. Ideas of Americanism, its representation, and what it means to be an American are issues that span both Whitman and Ginsberg's work. The way these issues are addressed and reconciled by Ginsberg is vastly different from how Whitman interacts with the subject: a significant departure due to the nature of their relationship. Ginsberg has cited Whitman as an influence on his work, and other scholars have commented on the appearance of this influence. The clear evidence of connection makes their different handling of similar subject matter a doorway into deeper analysis of the interworking of these two iconic American writers. -
A Marxist Analysis of Beat Writing and Culture from the Fifties to the Seventies
The Working Class Beats: a Marxist analysis of Beat Writing and Culture from the Fifties to the Seventies. Paul Whiston Sheffield University, United Kingdom Introduction: a materialist concept of ‘Beat’ The Beat Generation was more than just a literary movement; it was, as John Clellon Holmes, stated ‘an attitude towards life’.1 In other words, the Beat movement was a social, cultural and literary phenomenon. I will analyse what this Beat ‘attitude’ actually meant and also what the relationship between the literature and the Beat culture was. In A Glossary of Literary Terms Abrams defines ‘Beat’ as signifying ‘both “beaten down” (that is, by the oppressive culture of the time) and “beatific” (many of the Beat writers cultivated ecstatic states by way of Buddhism, Jewish and Christian mysticism, and/or drugs that induced visionary experiences)’.2 My focus will be on the beaten down aspects of Beat writing. I will argue that this represents a materialist concept of ‘Beat’ (as opposed to the ‘spiritual’ beatific notion) which aligns with Marx’s ideas in The German Ideology.3 Given that ‘beaten down’ is defined in terms of cultural oppression I will put forward the thesis that the culturally oppressed writers of the Beat Generation were those of a working-class background (particularly Cassidy and Bukowski) and it was their ability to create a class-consciousness that gave Beat writing and culture its politically radical edge. 1 I question the extent to which the likes of Ginsberg and Kerouac were really ‘beaten down’. Evidence will be shown to prove that most of these ‘original’ Beats had a privileged upbringing and a bourgeois/bohemian class status, therefore being ‘Beat’, for them, was arguably a ‘hip’ thing to be, an avant-garde experiment. -
“Howl”--Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by Cary O’Dell
“Howl”--Allen Ginsberg (1959) Added to the National Registry: 2006 Essay by Cary O’Dell Original album Original label Allen Ginsberg “I thought I wouldn’t write a poem, but just write what I wanted to without fear, let my imagination go, open secrecy, and scribble magic lines from my real mind—sum up my life—something I wouldn’t be able to show anybody, write for my own soul’s ear and a few other golden ears.” --Allen Ginsberg, 1959 Poet Allen Ginsberg’s stunning, controversial, epic and once-considered “obscene” three-part poem “Howl” was composed in the summer of 1955. It was first published in 1956. The poem’s radical language and incendiary images has since transcended poetry circles and academia. And its sentiments—perhaps put forth most directly in its famous opening line, “I saw the best minds of my generation destroyed by madness, starving hysterical naked,…”-- have come to summarize a decade and to speak for a generation. The 1959 recitation of “Howl” named to the National Registry in 2006 was not the work’s first oral presentation, nor even its first recorded one. The piece was first read aloud by its author in a San Francisco gallery in October of 1955. And its first, though aborted, recording was made in March of 1956 at Reed College in Portland, Oregon; at that time, Ginsberg performed only part one of the poem however before pleading fatigue and stopping. This ‘59 version--arguably the definitive rendition by its writer—came to be staged and recorded in Chicago at a benefit for the recently-launched literally magazine “Big Table.” “Big Table” was founded by defectors from the well-establish and well-respected “Chicago Review” magazine over what many saw as undue influence and censorship of the periodical by its parent, the University of Chicago. -
City Lights Books Records, 1953-1970
http://oac.cdlib.org/findaid/ark:/13030/kt5489q50w Online items available Finding Aid to City Lights Books Records, 1953-1970 Finding Aid written by Bancroft Library staff; revised by Tanya Hollis and Holly Fox. The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ © 2005 The Regents of the University of California. All rights reserved. Finding Aid to City Lights Books BANC MSS 72/107 c 1 Records, 1953-1970 Finding Aid to City Lights Books Records, 1953-1970 Collection number: BANC MSS 72/107 c The Bancroft Library University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Finding Aid Author(s): Finding Aid written by Bancroft Library staff; revised by Tanya Hollis and Holly Fox. Finding Aid Encoded By: GenX © 2014 The Regents of the University of California. All rights reserved. Collection Summary Collection Title: City Lights Books records Date (inclusive): 1953-1970 Collection Number: BANC MSS 72/107 c Creator: City Lights Books Extent: 15 boxes, 4 cartons, 1 oversize box, 1 portfolio, and 4 oversize folders(circa 13 linear feet)7 digital objects (9 images) Repository: The Bancroft Library. University of California, Berkeley Berkeley, CA 94720-6000 Phone: (510) 642-6481 Fax: (510) 642-7589 Email: [email protected] URL: http://bancroft.berkeley.edu/ Abstract: Consists of correspondence, editorial and administrative files. Correspondents include Allen Ginsberg, Gregory Corso, William S. -
Allen Ginsberg Collected Poems, 1947-1997, 2006
Critical Survey of Poetry Ginsberg, Allen Death and Fame: Poems, 1993-1997, 1999 Allen Ginsberg Collected Poems, 1947-1997, 2006 Born: Newark, New Jersey; June 3, 1926 Other literary forms Died: New York, New York; April 5, 1997 Allen Ginsberg recognized early in his career that he would have to explain his intentions, because most Principal poetry critics and reviewers of the time did not have the inter- Howl, and Other Poems, 1956, 1996 est or experience to understand what he was trying to Empty Mirror: Early Poems, 1961 accomplish. Consequently, he published books that in- Kaddish, and Other Poems, 1958-1960, 1961 clude interviews, lectures, essays, photographs, and The Change, 1963 letters to friends as means of conveying his theories Reality Sandwiches, 1963 about composition and poetics. Kral Majales, 1965 Wichita Vortex Sutra, 1966 Achievements T.V. Baby Poems, 1967 The publication of “Howl” in 1956 drew such en- Airplane Dreams: Compositions from Journals, thusiastic comments from Allen Ginsberg’s support- 1968 ers, and such vituperative condemnation from conser- Ankor Wat, 1968 vative cultural commentators, that a rift of immense Planet News, 1961-1967, 1968 proportions developed, which has made a balanced The Moments Return, 1970 critical assessment very difficult. Nevertheless, parti- Ginsberg’s Improvised Poetics, 1971 san response has gradually given way to an acknowl- Bixby Canyon Ocean Path Word Breeze, 1972 edgment by most critics that Ginsberg’s work is signifi- The Fall of America: Poems of These States, 1965- cant, if not always entirely successful by familiar 1971, 1972 standards of literary excellence. Such recognition was The Gates of Wrath: Rhymed Poems, 1948-1952, underscored in 1974, when The Fall of America shared 1972 the National Book Award in Poetry.