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Editorial Reviews
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Allen Ginsberg made his mark, along with Jack Kerouac, Gary Snyder and others, in the Beat movement, a poetry of social protest that refused perceived elitist boundaries. Tortured by the paranoia and mental illness of his immigrant mother, and by his own homosexuality in a society that was homophobic, Ginsberg's early work was as much a measure of his self-loathing as his detestation of social hypocrisy and injustice. His poems reached depths of humiliation and shame that presaged a mental breakdown, followed by recovery with the help of Buddhist philosophy. His best poetry rises above both personal despair and political propagandizing with satiric comedy, and cheerful self-parody, and is most readily appreciated when read aloud. This volume includes sixty pages of songs, some written in collaboration with Bob Dylan, which are not included in his Collected Poems 1947-1980. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
"This volume," states Ginsberg in a prefatory note, "summarizes what I deem most honest, most penetrant of my writing." Roughly half the size of 1984's Collected Poems (LJ 12/84), the selection is nevertheless massive, spanning pieces written in the poet's early twenties to those written just a year or two ago on the threshold of his seventies, an avalanche of songs, rants, and chants. Never less than engaged ("I want to be the spectacle of Poesy triumphant over the trickery of the world"), Ginsberg unleashes tidal celebrations of homoeroticism, leftist politics, Eastern mysticism, and Beat camaraderie as through he were writing for his life, out to prove?like his mentor Whitman?that there is no sector of consciousness that poetry cannot encompass. His best ("Howl," "Kaddish," "Mugging") shares first-class seats with more impoverished company ("Sphincter," "Hum Bom," "Birdbrain") as if to drive home the point. And that perhaps is the most productive way to approach Ginsberg's canon: as a feverish history of one consciousness in the second half of the 20th century, articulating the moment's raunchy, mortal urgency, leaving nothing out. [For more from Ginsberg, see Illuminated Poems, a collection illustrated by Eric Drooker and recently published by Four Walls Eight Windows.-Ed.]?Fred Muratori, Cornell Univ. Lib.
-?Fred Muratori, Cornell Univ. Lib.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Allen Ginsberg made his mark, along with Jack Kerouac, Gary Snyder and others, in the Beat movement, a poetry of social protest that refused perceived elitist boundaries. Tortured by the paranoia and mental illness of his immigrant mother, and by his own homosexuality in a society that was homophobic, Ginsberg's early work was as much a measure of his self-loathing as his detestation of social hypocrisy and injustice. His poems reached depths of humiliation and shame that presaged a mental breakdown, followed by recovery with the help of Buddhist philosophy. His best poetry rises above both personal despair and political propagandizing with satiric comedy, and cheerful self-parody, and is most readily appreciated when read aloud. This volume includes sixty pages of songs, some written in collaboration with Bob Dylan, which are not included in his Collected Poems 1947-1980. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
"This volume," states Ginsberg in a prefatory note, "summarizes what I deem most honest, most penetrant of my writing." Roughly half the size of 1984's Collected Poems (LJ 12/84), the selection is nevertheless massive, spanning pieces written in the poet's early twenties to those written just a year or two ago on the threshold of his seventies, an avalanche of songs, rants, and chants. Never less than engaged ("I want to be the spectacle of Poesy triumphant over the trickery of the world"), Ginsberg unleashes tidal celebrations of homoeroticism, leftist politics, Eastern mysticism, and Beat camaraderie as through he were writing for his life, out to prove?like his mentor Whitman?that there is no sector of consciousness that poetry cannot encompass. His best ("Howl," "Kaddish," "Mugging") shares first-class seats with more impoverished company ("Sphincter," "Hum Bom," "Birdbrain") as if to drive home the point. And that perhaps is the most productive way to approach Ginsberg's canon: as a feverish history of one consciousness in the second half of the 20th century, articulating the moment's raunchy, mortal urgency, leaving nothing out. [For more from Ginsberg, see Illuminated Poems, a collection illustrated by Eric Drooker and recently published by Four Walls Eight Windows.-Ed.]?Fred Muratori, Cornell Univ. Lib.
-?Fred Muratori, Cornell Univ. Lib.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
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