Simpson thought that time was no longer needed because everyone was living in Eternity.Louis Simpson had served in WW2 and was older than Ginsberg. This is none other than the military-industrial complex, the Capitalist elites and the conformists waging war on the best minds, the peripherals, the creatives who question, protest and promote alternative worlds.Tuli Kupferberg, poet, musician and protestor did jump off a bridge in 1944, the Manhattan bridge according to sources, and was picked up badly injured by a passing tugboat.Ginsberg turns this true episode into a poetic fiction - as he did in many lines of Howl - using biographical fact and dressing it up as poetry. The movement of Howl is from protest, pain, outage, attack and lamentation to acceptance, affirmation, love and vision-from alienation to communion. of the afterlife.Jazz, bums and angels meet in a ghostly afterlife; and America has been stripped down mentally as the weird cry for help carries across mainstream society one last time.So Ginsberg is saying in a pseudoreligious manner that Solomon and all the beats had the same question that Jesus Christ had as he suffered on the cross at the point of death...Ginsberg is either saying that the best minds were abandoned (by society, family) or were meant to suffer for their beliefs, for their anti-establishment stance. Ginsberg helped stash the stolen goods.Instead of being sent to prison Ginsberg, having pleaded mental instability, was given a term in a psychiatric institute, where he met Carl Solomon, a 'professional lunatic-saint'. There is also the idea that they did this for love - Ginsberg's anti-war protests and quest for peace (through Buddhism) in particular, are an expression of this.The final line is rather gruesome as an image - Shakespeare's pound of flesh springs to mind, when Shylock the moneylender in the Merchant of Venice demands his pound of flesh of Antonio, as payment of the debt - but the figurative sense suggests that the best minds, the creative writers are like Christ, sacrificial lambs.Ginsberg's writers, artists and poets produce a poem that is so pure it will be edible for a 1000 years, just as christians believe the body of Christ is good to eat and according to the book of Revelation 20, he will reign for 1000 years with those who did not worship Satan.So time plays a huge role in these last few lines; time that can be measured and time that cannot. They wrote whatever comes into their mind. They even burnt money to hate capitalism. Ginsberg uses time throughout the poem, sometimes in conjunction with space, but more often to re-orientate and fix events, a grounding technique that contrasts with the idea of eternity and spiritual freedom.No HTML is allowed in comments, but URLs will be hyperlinked. Ginsberg studied Cezanne at university in 1949 and was inspired by a letter Cezanne wrote in 1904 in which he describes his attempts to capture nature on canvas.Ginsberg listened to and was inspired by so many people in his quest for his own poetic truths. Kerouac thought he died of too much peyote in Chihuahua.Ginsberg plays with time and space, Hoffman reappearing as a different character - one Joffre Stewart, anarchist and protestor who he met in San Fransisco in early 1955.Stewart always carried a white bag full of pacifist and anarchist flyers and was investigating the FBI, or so he claimed.Note how the tables are turned.
They went to the Negro street and looked with anger; this anger is nothing but the expression of indictment (hatred) against American culture. But tomorrow they will get the reincarnation with the unlimited number of followers behind them. Pathos also plays a role. Ginsberg is using the word sanity/insanity to highlight the plight of those wrongly diagnosed and those who were victims.Throwing potato salad at CCNY lecturers on Dadaism - Ginsberg insists it was at City College New York against Dadaism - but Carl Solomon, the protagonist claims it was off campus or at Brooklyn College and the act was an expression of Dadaism not an act against Dadaism.Whatever the fact, poetic license allows Ginsberg to neatly sum up Solomon's entry into the psychiatric institute.And once inside the treatment could start. He's already witnessed the mental degradation of those outsiders closest to him: artists, poets, friends and other bohemian types who have struggled to fit into the smothering routines of mainstream society.They're out on the streets, desperately seeking drugs to help them cope with the demands. This line is an echo of some of those lonesome journeys undergone through bleak times way back.This must have been an unbelievably intense time for the beats. Hobos and others down at heel often push their belongings around on wheels. This analysis concentrates on part one, dedicated to Carl Solomon, who Ginsberg met and befriended in a psychiatric institute in 1949. The beats loved to drive their metaphors to all kinds of places.Still in the car, one of those heavy gas-guzzling whitewalled chrome beasts featured in On The Road, like a Hudson Commodore, driving nonstop to visit one of the best minds...have they discovered Eternity yet? And there's not even a free beer? This occurred on the evening of October 17, 1954, in the Nob Hill apartment of Shiela Williams, then Ginsberg's girlfriend, with whom he was living. He told Ginsberg that they would have to split up but that he willing to spend one more night together in Houston.The one night finale didn't quite pan out as Ginsberg had hoped.
It is considered the foremost poetic expression of the Beat generation of the 1950s. The poet asks people to cry against capitalism, exploitation, repression and subjugation. The poem is in elegiac tone; the tone of mourning. By this time he knew Kerouac, Burroughs and other writers who were to influence his thinking. What goes around, comes around.Another suicidal scenario, this time high up overlooking the Hudson river. It lacks deliberate meter or a rhyming scheme, instead taking the form of breath-length lines that, when read out loud, resemble a rant or a diatribe. Shrew is Shakespearean (The Taming of the Shrew).
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