Analyzing Howl: Allen Ginsberg’s Influence on Modern Poetry

The Literary Impact of Allen Ginsberg’s Howl

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Allen Ginsberg’s “Howl” is one of the most significant and controversial poems of the 20th century. First performed in 1955 and published in 1956, this sprawling, free-verse epic became the defining work of the Beat Generation, challenging societal norms and poetic conventions.

This essay will delve into the complex layers of “Howl,” examining its structure, themes, literary devices, and historical context to uncover Ginsberg’s masterpiece’s profound impact and enduring relevance.

Structure and Form

“Howl” is divided into three main parts, followed by a footnote. This unconventional structure reflects the poem’s break from traditional poetic forms, mirroring the Beat Generation’s rejection of established literary and social norms. As Raskin (2004) notes, “The form of ‘Howl’ is as revolutionary as its content, eschewing traditional meter and rhyme for a free-flowing, jazz-inspired rhythm” (p. 137).

Inspired by Walt Whitman’s free verse, the poem’s long lines create a breathless, incantatory quality. Ginsberg described his technique as a “breath unit,” with each line ideally corresponding to a single exhalation (Miles, 2001). This approach creates a sense of urgency and spontaneity, reflecting the raw energy of the Beat movement.

Part I: A Litany of Visions

The first section of “Howl” begins with the famous line, “I saw the best minds of my generation destroyed by madness” (Ginsberg, 1956, line 1). This opening sets the tone for a series of vivid, often hallucinatory images depicting the experiences of Ginsberg’s contemporaries.

The anaphoric repetition of “who” at the beginning of many lines creates a rhythmic intensity and a sense of accumulation. As Perloff (2006) observes, “This cataloging technique allows Ginsberg to build a comprehensive portrait of his generation, each line adding another facet to the complex whole” (p. 218).

This section’s imagery is beautiful and grotesque, juxtaposing the sacred and the profane. Ginsberg’s surrealist techniques create a dreamlike atmosphere that captures many’s disorientation and alienation in post-war America. For example, the line “who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall” (Ginsberg, 1956, lines 53-54) evokes a sense of paranoia and desperation through its vivid, unconventional imagery.

 

Part II: Moloch and Societal Critique

The second part of “Howl” introduces the figure of Moloch, a Canaanite deity associated with child sacrifice. Ginsberg uses Moloch as a symbol of the oppressive forces of American society, including capitalism, militarism, and conformity.

The repetition of “Moloch” at the beginning of each line in this section creates a powerful incantatory effect, reinforcing the idea of society as a monstrous, all-consuming entity. As Portugés (2002) argues, “Ginsberg’s Moloch becomes a multifaceted symbol of all that the Beat Generation saw as soul-crushing in modern America” (p. 89).

The imagery in this section is particularly striking, with lines like “Moloch whose eyes are a thousand blind windows!” and “Moloch whose factories dream and croak in the fog!” (Ginsberg, 1956, lines 80-81) personifying the dehumanizing aspects of urban, industrialized society. This anthropomorphization of Moloch serves to make the abstract concepts of societal oppression more tangible and immediate. 

Part III: A Message of Hope and Solidarity

The third part of “Howl” shifts in tone, addressing Carl Solomon, a friend Ginsberg met in a psychiatric hospital. This section is characterized by repeating “I’m with you in Rockland,” creating a litany of solidarity and compassion.

This part of the poem can be seen as a counterpoint to the despair and anger of the previous sections. As Trigilio (2007) suggests, “The third section of ‘Howl’ offers a vision of human connection as a possible antidote to the alienation and madness depicted earlier in the poem” (p. 172).

The surrealist imagery continues in this section but with a more positive, even ecstatic tone. Lines like “where we wake up electrified out of the coma by our own souls’ airplanes roaring over the roof” (Ginsberg, 1956, line 112) suggest the possibility of transcendence and awakening, even while suffering. 

Footnote to Howl: A Celebration of the Sacred

The poem concludes with a footnote repeating “Holy” in a litany. This section serves as a kind of benediction, affirming the inherent sacredness of all things, including those deemed profane or marginal by mainstream society.

As Hyde (2010) observes, “The ‘Footnote to Howl’ can be read as Ginsberg’s attempt to reconsecrate a world that has been desacralized by Moloch” (p. 245). This final section thus resolves the tensions explored in the earlier parts of the poem, suggesting the possibility of finding holiness and meaning even in a world dominated by Moloch. 

Literary Devices and Techniques

Throughout “Howl,” Ginsberg employs a range of literary devices to create his unique poetic voice. His use of alliteration and assonance contributes to the musicality of the poem, as in the line “who chained themselves to subways for the endless ride from Battery to holy Bronx” (Ginsberg, 1956, line 14), where the repetition of the “b” sound creates a rhythmic effect.

The poem is also rich in metaphor and symbolism. For example, the recurring image of “angelheaded hipsters” (Ginsberg, 1956, line 3) combines the sacred (angels) with the countercultural (hipsters) to create a complex representation of Ginsberg’s generation.

Ginsberg’s juxtaposition is particularly effective in creating the poem’s surrealist atmosphere. He frequently combines disparate elements to create striking images, as in the line “who ate fire in paint hotels or drank turpentine in Paradise Alley” (Ginsberg, 1956, line 11), where the mundane (paint hotels) is juxtaposed with the extreme (eating fire) to evoke the intensity of his subjects’ experiences. 

Historical and Cultural Context

“Howl” emerged from a specific historical and cultural moment, and understanding this context is crucial to fully appreciating the poem’s significance. The 1950s in America were characterized by conformity, consumerism, and the paranoia of the Cold War era. The Beat Generation, of which Ginsberg was a key figure, rebelled against these societal norms.

As Sterritt (2013) notes, “The Beats’ rejection of materialism and their exploration of alternative spiritualities and sexualities positioned them in direct opposition to mainstream American culture” (p. 67). “Howl” gives voice to this countercultural perspective, celebrating those who exist on the margins of society and critiquing the forces that push them there.

Many readers were shocked by the poem’s frank discussions of drug use, sexuality, and mental illness at the time of its publication. Indeed, “Howl” was the subject of an obscenity trial in 1957, which it ultimately won. This legal battle underscored the poem’s challenge to societal norms and helped cement its place in the canon of American literature. 

Influence and Legacy

The impact of “Howl” on American poetry and culture cannot be overstated. Its free verse style, colloquial language, and courageous engagement with contemporary issues helped to open up new possibilities for poetic expression.

As Collins (2011) argues, “Ginsberg’s ‘Howl’ marked a turning point in American poetry, breaking down the barriers between ‘high’ and ‘low’ culture and paving the way for the more personal, confessional style of poetry that would emerge in the 1960s and beyond” (p. 312).

Moreover, the poem’s critique of American society and its celebration of marginalized groups resonated with the countercultural movements of the 1960s and continues to speak to readers today. Its themes of alienation, the search for authentic experience, and the tension between the individual and society remain relevant in our contemporary world. 

Conclusion

Allen Ginsberg’s “Howl” is a complex, multifaceted work that rewards close reading and analysis. Through its innovative form, vivid imagery, and powerful social critique, the poem captures the spirit of its time while speaking to universal human experiences.

“Howl” is more than just a poem; it is a cultural artifact that encapsulates the anxieties, hopes, and rebellious spirit of the Beat Generation. Its enduring power lies in its ability to shock, move, and inspire readers, challenging us to see our world and ourselves in new ways.

As we continue to grapple with issues of conformity, alienation, and the search for meaning in an often chaotic world, “Howl” remains a potent reminder of the power of poetry to articulate the inarticulable, give voice to the marginalized, and envision alternative ways of being. In its sprawling lines and ecstatic visions, we find not just a critique of society but an affirmation of the resilience and creativity of the human spirit. 

References

Collins, R. (2011). Beats, bohemians, and intellectuals: American poetry in transition, 1940-1960. Cambridge University Press.

Ginsberg, A. (1956). Howl and other poems. City Lights Books.

Hyde, L. (2010). Common as air: Revolution, art, and ownership. Farrar, Straus and Giroux.

Miles, B. (2001). Ginsberg: A biography. Virgin Books.

Perloff, M. (2006). The poetics of indeterminacy: Rimbaud to Cage. Northwestern University Press.

Portugés, P. (2002). The visionary poetics of Allen Ginsberg. White Cloud Press.

Raskin, J. (2004). American scream: Allen Ginsberg’s Howl and the making of the Beat Generation. University of California Press.

Sterritt, D. (2013). The Beats: A very short introduction. Oxford University Press.

Trigilio, T. (2007). Allen Ginsberg’s Buddhist poetics. Southern Illinois University Press.