See his journals (5 vol., 1971-96); collected correspondence (5 vol., 1976-2001), M. Schumacher, ed., Family Business: Selected Letters between a Father and Son (2001), and B. Morgan, ed., The Letters of Allen Ginsberg and The Selected Letters of Allen Ginsberg and Gary Snyder (both: 2008); D. Carter, ed., Spontaneous Mind: Selected Interviews, 1958-1996 (2001); biographies by B. Miles (1989), M. Schumacher (1992), and B. Morgan (2006); studies by L. Hyde, ed. (1984), T. F. Merrill (1988), and B. Miles (1993); bibliographies ed. by G. Dowden (1971), M. P. Kraus (1980), and B. Morgan (1995).
Irwin Allen Ginsberg (June 3, 1926 – April 5, 1997) was an American poet. Ginsberg is best known for the poem Howl (1956), celebrating his friends of the Beat Generation and attacking what he saw as the destructive forces of materialism and conformity in the United States at the time.
As a young teenager, Ginsberg began to write letters to The New York Times about political issues such as World War II and workers' rights. When he was in junior high school, he accompanied his mother by bus to her therapist. The trip disturbed Ginsberg — he mentioned it and other moments from his childhood in his long autobiographical poem "Kaddish for Naomi Ginsberg (1894-1956)." While in high school, Ginsberg began reading Walt Whitman; he said he was inspired by his teacher's passion in reading.
In 1943, Ginsberg graduated from Eastside High School and briefly attended Montclair State University before entering Columbia University on a scholarship from the Young Men's Hebrew Association of Paterson in 1949. While at Columbia, Ginsberg contributed to the Columbia Review literary journal, the Jester humor magazine, won the Woodberry Poetry Prize and served as president of the Philolexian Society, the campus literary and debate group.
In 1948 in an apartment in Harlem, Ginsberg had an auditory hallucination of William Blake reading his poems "Ah, Sunflower", "The Sick Rose", and "Little Girl Lost" (later referred to as his "Blake vision"). Ginsberg was reading these poems at the time, and he said he was very familiar with them; at one point he claimed he heard them being read by what sounded like the voice of God but what he interpreted as the voice of Blake. He had at that moment pivotal revelations that defined his understanding of the universe. He believed that he witnessed then the interconnectedness of the universe. He looked at lattice work on the fire escape and realized some hand had crafted that; he then looked at the sky and intuited that some hand had crafted that also, or rather that the sky was the hand that crafted itself. He explained that this hallucination was not inspired by drug use, but said he sought to recapture that feeling later with various drugs.
Also in New York, Ginsberg met Gregory Corso in the Pony Stable Bar, one of New York's first openly lesbian bars. Corso, recently released from prison, was supported by the Pony Stable patrons and was writing poetry there the night of their meeting. Ginsberg claims he was immediately attracted to Corso, who was straight but understanding of homosexuality after three years in prison. Ginsberg was even more struck by reading Corso's poems, realizing Corso was "spiritually gifted." Ginsberg introduced Corso to the rest of his inner circle. In their first meeting at the Pony Stable, Corso showed Ginsberg a poem about a woman who lived across the street from him, and sunbathed naked in the window. Amazingly, the woman just happened to be Ginsberg's girlfriend during one of his forays into heterosexuality. Ginsberg and Corso remained life-long friends and collaborators.
It was also during this period that Ginsberg was romantically involved with Elise Cowen.
Also in San Francisco Ginsberg met members of the San Francisco Renaissance and other poets who would later be associated with the Beat Generation in a broader sense. Ginsberg's mentor William Carlos Williams wrote an introductory letter to San Francisco Renaissance figurehead Kenneth Rexroth, who then introduced Ginsberg into the San Francisco poetry scene. There, Ginsberg also met three budding poets and Zen enthusiasts who were friends at Reed College: Gary Snyder, Philip Whalen, and Lew Welch.
Wally Hedrick — a painter and co-founder of the Six Gallery — approached Ginsberg in the summer of 1955 and asked him to organize a poetry reading at the Six Gallery. At first, Ginsberg refused, but once he’d written a rough draft of Howl, he changed his "fucking mind," as he put it. Ginsberg advertised the event as "Six Poets at the Six Gallery." One of the most important events in Beat mythos, known simply as "The Six Gallery reading" took place on October 7, 1955. The event, in essence, brought together the East and West Coast factions of the Beat Generation. Of more personal significance to Ginsberg: that night was the first public reading of "Howl", a poem that brought worldwide fame to Ginsberg and to many of the poets associated with him. An account of that night can be found in Kerouac's novel The Dharma Bums, describing how change was collected from audience members to buy jugs of wine, and Ginsberg reading passionately, drunken, with arms outstretched. A taped recording of the reading of 'Howl' that Ginsberg gave at Reed College has recently been rediscovered and appeared on their multimedia website from 9am PST 15 February 2008.
Ginsberg's principal work, "Howl", is well-known for its opening line: "I saw the best minds of my generation destroyed by madness, starving hysterical naked...." "Howl" was considered scandalous at the time of its publication, because of the rawness of its language, which is frequently explicit. Shortly after its 1956 publication by San Francisco's City Lights Bookstore, it was banned for obscenity. The ban became a cause célèbre among defenders of the First Amendment, and was later lifted after Judge Clayton W. Horn declared the poem to possess redeeming social importance.
Though "Beat" is most accurately applied to Ginsberg and his closest friends (Corso, Orlovsky, Kerouac, Burroughs, etc.), the term "Beat Generation" has become associated with many of the other poets Ginsberg met and became friends with in the late 1950s and early 1960s. A key feature of this term seems to be a friendship with Ginsberg. Friendship with Kerouac or Burroughs might also apply, but both writers later strove to disassociate themselves from the name "Beat Generation." Part of their dissatisfaction with the term came from the mistaken identification of Ginsberg as the leader. Ginsberg never claimed to be the leader of a movement. He did, however, claim that many of the writers with whom he had become friends in this period shared many of the same intentions and themes. Some of these friends include: Bob Kaufman; LeRoi Jones before he became Amiri Baraka, who, after reading "Howl", wrote a letter to Ginsberg on a sheet of toilet paper; Diane DiPrima; poets associated with the Black Mountain College such as Robert Creeley and Denise Levertov; poets associated with the New York School such as Frank O'Hara and Kenneth Koch.
Allen Ginsberg gave what is thought to be his last reading at The Booksmith in San Francisco on December 16, 1996. He died on April 5, 1997, surrounded by family and friends in his East Village loft in New York City, succumbing to liver cancer via complications of hepatitis. He was 70 years old. Ginsberg continued to write through his final illness, with his last poem, "Things I'll Not Do (Nostalgias)", written on March 30.
Ginsberg is buried in his family plot in Gomel Chesed Cemetery, one of a cluster of Jewish cemeteries at the corner of McClellan Street and Mt. Olivet Avenue near the city lines of Elizabeth and Newark, New Jersey. The family plot, located toward the western edge of the cemetery at the far end of the walk from the third gate along Mt. Olivet Avenue, is marked by a large Ginsberg and Litzky stone, and Ginsberg himself and each family member have smaller markers. Though the grave itself and the cemetery are neither picturesque nor otherwise notable (Ginsberg's grave is located near the rear fence of the flat cemetery, which is in the midst of an industrial area). Although it has not become a major place of pilgrimage, there is a steady trickle of visitors as indicated by a handful of stones always on his marker and the occasional book or other item left by other poets and admirers.
Likewise, he continuously attempted to force the world into a dialogue about controversial subjects because he thought that no change could be made in a polite silence.
The day prior to the scheduled march, the Hell's Angels attacked the front line of a smaller scale protest where a confrontation between police and demonstrators was brewing. The Hell's Angels came in on motorcycles and slashed banners while yelling "Go back to Russia, you fucking communists!" at the protesters. The Hell's Angels then vowed to disrupt the larger protest the next day.
Ginsberg traveled to Barger's home in Oakland to talk the situation through. It is rumored that he offered Barger and other members of the Hell's Angels LSD as a gesture of friendship and goodwill.. In the end, Barger and the other Hell's Angels that were present came away deeply impressed by the courage of Ginsberg and his companion Ken Kesey. They vowed not to attack the next day's protest march and furthermore deemed Ginsberg a man who was worth helping out. It was shortly after the Tompkins Square Park riots that he was involved in a fracas with the Mentofreeist group and was assaulted by its leader, Vargus Pike, who was arrested. He was later released when Ginsberg, sporting a black eye, refused to press charges.
In 1965 Ginsberg was deported from Cuba for publicly protesting against Cuba's anti-marijuana stance; ironically Ginsberg admired Castro along with many other quasi-Marxist figures from the 20th century. Ginsberg's expulsion was also said to have come after he had described Che Guevara as "cute".
The Cubans sent him to Czechoslovakia, where one week after being named the King of a May Day parade, Ginsberg was labeled an "immoral menace" by the Czech government because of his free expression of radical ideas, and was then deported. Many important figures from Communist Bloc countries such as Vaclav Havel point to Ginsberg as an important inspiration to strive for freedom. According to biographer Jonah Raskin, despite his often stark opposition to communist orthodoxy Ginsberg held "his own idiosyncratic version of communism".
In addition, the character of Ginsberg in Jack Kerouac's On the Road is named Carlo Marx, a possible reference to his early beliefs.
Also, in writing about sexuality in graphic detail and in his frequent use of language seen as indecent he challenged—and ultimately changed—obscenity laws. He was a staunch supporter of others whose expression challenged obscenity laws (William S. Burroughs and Lenny Bruce, for example).
Ginsberg claimed throughout his life that his biggest inspiration was Kerouac's concept of "spontaneous prose". He believed literature should come from the soul without conscious restrictions. However, Ginsberg was much more prone to revise than Kerouac. For example, when Kerouac saw the first draft of "Howl" he disliked the fact that Ginsberg had made editorial changes in pencil (transposing "negro" and "angry" in the first line, for example). Kerouac only wrote out his concepts of Spontaneous Prose at Ginsberg's insistence because Ginsberg wanted to learn how to apply the technique to his poetry.
An important figure when considering inspiration for "Howl" is Carl Solomon. The full title is "Howl for Carl Solomon." Solomon was a Dada and Surrealism enthusiast (he introduced Ginsberg to Artaud) who suffered bouts of depression. Solomon wanted to commit suicide, but he thought a form of suicide appropriate to dadaism would be to go to a mental institution and demand a lobotomy. The institution refused, giving him many forms of therapy, including electroshock therapy. Much of the final section of the first part of "Howl" is a description of this.
Ginsberg used Solomon as an example of all those ground down by the machine of "Moloch." Moloch, to whom the second section is addressed, is a Levantine god to whom children were sacrificed. Ginsberg may have gotten the name from the Kenneth Rexroth poem "Thou Shalt Not Kill", a poem about the death of one of Ginsberg's heroes, Dylan Thomas. But Moloch is mentioned a few times in the Torah and references to Ginsberg's Jewish background are not infrequent in his work. Ginsberg said the image of Moloch was inspired by peyote visions he had of the Francis Drake Hotel in San Francisco which appeared to him as a skull; he took it as a symbol of the city (not specifically San Francisco, but all cities). Ginsberg later acknowledged in various publications and interviews that behind the visions of the Francis Drake Hotel were memories of the Moloch of Fritz Lang's film Metropolis (1927) and of the woodcut novels of Lynd Ward. Moloch has subsequently been interpreted as any system of control, including the conformist society of post-World War II America focused on material gain, which Ginsberg frequently blamed for the destruction of all those outside of societal norms.
He also made sure to emphasize that Moloch is a part of all of us: the decision to defy socially created systems of control—and therefore go against Moloch—is a form of self-destruction. Many of the characters Ginsberg references in "Howl", such as Neal Cassady and Herbert Huncke, destroyed themselves through excessive substance abuse or a generally wild lifestyle. The personal aspects of "Howl" are perhaps as important as the political aspects. Carl Solomon, the prime example of a "best mind" destroyed by defying society, is associated with Ginsberg's schizophrenic mother: the line "with mother finally ******" comes after a long section about Carl Solomon, and in Part III, Ginsberg says "I'm with you in Rockland where you imitate the shade of my mother." Ginsberg later admitted that the drive to write "Howl" was fueled by sympathy for his ailing mother, an issue which he was not yet ready to deal with directly. He dealt with it directly with 1959's "Kaddish".
He studied poetry under William Carlos Williams, who was then in the middle of writing his epic poem Paterson about the industrial city near his home. Ginsberg, after attending a reading by Williams, sent the older poet several of his poems and wrote an introductory letter. Most of these early poems were rhymed and metered and included archaic pronouns like "thee." Williams hated the poems. He told Ginsberg later, "In this mode perfection is basic, and these poems are not perfect."
Though he hated the early poems, Williams loved the exuberance in Ginsberg's letter. He included the letter in a later part of "Paterson." He taught Ginsberg not to emulate the old masters but to speak with his own voice and the voice of the common American. Williams taught him to focus on strong visual images, in line with Williams' own motto "No ideas but in things." His time studying under Williams led to a tremendous shift from the early formalist work to the brilliance of his later work. Early breakthrough poems include "Bricklayer's Lunch Hour" and "Dream Record."
Carl Solomon introduced him to Antonin Artaud ("To Have Done with the Judgement of God" and "Van Gogh: The Man Suicided by Society"), and Jean Genet (Our Lady of the Flowers). Philip Lamantia introduced him to other Surrealists and Surrealism continued to be an influence (for example, sections of Kaddish were inspired by André Breton's "Free Union"). Ginsberg claimed that the anaphoric repetition of "Howl" and other poems was inspired by Christopher Smart in such poems as "Jubilate Agno." Ginsberg claims other more traditional influences, such as: Franz Kafka, Herman Melville, Fyodor Dostoevsky, Edgar Allan Poe, and even Emily Dickinson.
Ginsberg also made an intense study of haiku and the paintings of Paul Cézanne, from which he adapted a concept important to his work, which he called the "Eyeball Kick". He noticed in viewing Cézanne's paintings that when the eye moved from one color to a contrasting color, the eye would spasm, or "kick." Likewise, he discovered that the contrast of two seeming opposites was a common feature in haiku. Ginsberg used this technique in his poetry, putting together two starkly dissimilar images: something weak with something strong, an artifact of high culture with an artifact of low culture, something holy with something unholy. The example Ginsberg most often used was "hydrogen jukebox" (which later became the title of an opera he wrote with Philip Glass). Another example is Ginsberg's observation on Bob Dylan during his hectic and intense 1966 electric tour, fuelled by a cocktail of amphetamines, opiates, alcohol, and psychedelics, as a "Dexedrine Clown." The phrases "eyeball kick" and "hydrogen jukebox" both show up in "Howl", as well as a direct quote from Cézanne: "Pater Omnipotens Aeterna Deus."
Many of his early long line experiments contain some sort of anaphoric repetition, or repetition of a "fixed base" (for example "who" in "Howl", "America" in "America"), and this has become a recognizable feature of Ginsberg's style. However, he said later this was a crutch because he lacked confidence in his style; he didn't yet trust "free flight." In the 60s, after employing it in some sections of Kaddish ("caw" for example) he, for the most part, abandoned the anaphoric repetition.
Several of his earlier experiments with methods for formatting poems as a whole become regular aspects of his style in later poems. In the original draft of "Howl", each line is in a "stepped triadic" format reminiscent of Williams (see "Ivy Leaves", for example). He abandoned the "stepped triadic" when he developed his long line, but the stepped lines showed up later, most significantly in the travelogues of The Fall of America. "Howl" and "Kaddish", arguably his two most important poems, are both organized as an inverted pyramid, with larger sections leading to smaller sections. In "America", he experimented with a mix of longer and shorter lines.
"Lightning's blue glare fills Oklahoma plains, the train rolls east casting yellow shadow on grass Twenty years ago approaching Texas, I saw sheet lightning cover Heaven's corners... An old man catching fireflies on the porch at night watched the Herd Boy cross the Milky Way ''to meet the Weaving Girl... How can we war against that?" (From Iron Horse, 1972)
Empty Mirror: Early Poems (1961)