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Allen Ginsberg

Politics, Poetry and Inspiration

“Language joiins heaven and earth and joins the mind and the body.”

with Allen Ginsberg

 

Alien Ginsberg’s poem “Howl, ” published in 1956, caused such a controversy that it was the subject of an obscenity trial. Having received the court ‘s “approval, ” it went on to become one of the most widely read and translated poems of the century. He is an extraordinarily prolific artist, having had over forty books published and eleven albums produced.

Alien’s friendship and literary experimentation with Jack Kerouac and William Burroughs began in 1945, and a decade later as this core group expanded to include other poets and writers, it came to be known as the “Beat Generation. ” He has received numerous honors, including the National Book Award for Poetry, a Guggenheim Foundation Fellowship, National Arts Club Medal, 1986 Struga Festival Golden Wreath, and the Manhattan Borough President David Dinkins Medal of Honor for Literary Excellence 1 989.

A potent figure in the cultural revolution of the sixties, he has been arrested with Dr. Benjamin Spock for blocking the Whitehall Draft Board steps, has testified at the U.S. Senate hearings for the legalization of psychedelics and been teargassed for chanting “Om” at the Lincoln Park Yippie Life Festival at the 1968 Presidential convention in Chicago.

His Collected Poems 1947-1980, were published in 1984 with White Shroud and the 30th Anniversary Howl annotated issue in 1 986. Several books of his photographs and a recordlCD of his poetry-jazz album, The Lion for Real, appeared in 1989. He is a member of the National Institute of Arts and Letters, and is a Distinguished Professor at Brooklyn College and a member of the Executive Board of PEN American Center. A practicing Buddhist, Alien cofounded Naropa Institute’s Jack Kerouac School of Disembodied Poetics in Boulder, Colorado.

We talked with Allen at the house of his cousin, Oscar Janiger, in Santa Monica. He presents a very dignified and unassuming figure, his non-conforming and wildly creative persona loosely disguised in a professorial suit and tie. We asked Allen about his relationship with Burroughs and Kerouac, his thoughts on madness and creativity, and the nature of politics and revolution. This interview took place on April 23, 1992, six days before the Los Angeles uprising.

RMN

 

DJB: What was is that originally inspired you to start writing poetry?

Allen: It’s a family business. My father was a poet, his Collected Poems were posthumously published – they just came out recently, in fact, from the Northern Lights Press in Maine. My father was in the 1930-50 Untermeyer anthologies, a standard poet of that genre, lyric poetry, that included Eleanor Wiley and Lisette Woodsworth Reece.

DJB: Was it something that you always knew you were going to do?

Allen: No, but I always wrote poetry; since I was a kid I knew poetry. My father taught high school and college, so I knew a lot of Milton, Poe, Shelley and Blake when I was five, six, seven years old. And I memorized it, or it just sort of stuck in my head. I started writing when I was maybe fifteen, or younger, but I never thought of myself as a poet. I just thought that it was something you did on the side, like my father had done. But then, when I met Jack Kerouac at the age of seventeen, I realized that he was the first person I had met who saw being a writer as a sacramental vocation. Rather than being a sailor who wrote, he was a writer who also went out on ships. That changed my attitude towards writing, because now I saw it as a sacred vocation.

DJB: How did you mother’s struggle with mental illness affect your development?

Allen: I’ve written a great deal about that in the poem “Kaddish,”

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