In writing Howl, Allen Ginsberg was following poetic tradition rather than establishing it. Yet no one has ever done anything quite like itby Sam Leith / March 23, 2011 / Leave a comment
Published in April 2011 issue of Prospect Magazine
“I saw the best minds of my generation destroyed by madness, starving mystical naked/ Who dragged themselves thru the angry streets at dawn looking for a negro fix…” Sounds nearly familiar, doesn’t it?
Allen Ginsberg used to repeat the dictum “first thought, best thought,” but the lines above were his actual first thought, according to the draft facsimile of Howl. He was too good a poet not to recognise that “negro” and “angry” were better transposed, that “hysterical” has a rhythmic spring “mystical” lacks, and that “who dragged” fouls up the whole thing.
The other night I went to see Howl, the new film dramatising Allen Ginsberg’s 1955 poem and the subsequent obscenity trial. Made me cry, it did—if only because it contained James Franco reading (very well) that exhilarated and sentimental and anguished and funny and tender poem.
Not all of Ginsberg is great. He was a poet of the chuck-it-all-in-and-see-if-it-works kind, and sometimes it didn’t work. But Howl is great, and much more of him is great too, and not always for the reasons people think. “Beat” he may have been, but he wasn’t cool. Howl was the opposite of cool: deeply and bravely self-exposing.
Ginsberg is seen as the spokesman for a generation but it’s really a personal poem, as personal as its great precursor Leaves of Grass, though like Walt Whitman’s work it turns the personal outwards: “What I assume, you shall assume.” Howl is suffused with feeling for the madness of Ginsberg’s mother. The poem is dedicated to his friend Carl Solomon, languishing in an insane asylum which the poet calls Rockland.