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class="vector-toc-link" href="#Part_III"> <div class="vector-toc-text"> 3.3 Part III </div> </a> <ul id="toc-Part_III-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Footnote" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Footnote"> <div class="vector-toc-text"> 3.4 Footnote </div> </a> <ul id="toc-Footnote-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Rhythm" class="vector-toc-list-item vector-toc-level-2"> <a class="vector-toc-link" href="#Rhythm"> <div class="vector-toc-text"> 3.5 Rhythm </div> </a> <ul id="toc-Rhythm-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-1957_obscenity_trial" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#1957_obscenity_trial"> <div class="vector-toc-text"> 4 1957 obscenity trial </div> </a> <ul id="toc-1957_obscenity_trial-sublist" class="vector-toc-list"> </ul> </li> <li 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fears </div> </a> <ul id="toc-2007_broadcasting_fears-sublist" class="vector-toc-list"> </ul> </li> </ul> </li> <li id="toc-Legacy" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Legacy"> <div class="vector-toc-text"> 8 Legacy </div> </a> <ul id="toc-Legacy-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Film" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#Film"> <div class="vector-toc-text"> 9 Film </div> </a> <ul id="toc-Film-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-References" class="vector-toc-list-item vector-toc-level-1 vector-toc-list-item-expanded"> <a class="vector-toc-link" href="#References"> <div class="vector-toc-text"> 10 References </div> </a> <ul id="toc-References-sublist" class="vector-toc-list"> </ul> </li> <li id="toc-Further_reading" class="vector-toc-list-item vector-toc-level-1 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Available in 19 languages" > <label id="p-lang-btn-label" for="p-lang-btn-checkbox" class="vector-dropdown-label cdx-button cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--weight-quiet cdx-button--action-progressive mw-portlet-lang-heading-19" aria-hidden="true" > 19 languages </label> <div class="vector-dropdown-content"> <div class="vector-menu-content"> <ul class="vector-menu-content-list"> <li class="interlanguage-link interwiki-ca mw-list-item"><a href="https://ca.wikipedia.org/wiki/Howl" title="Howl – Catalan" lang="ca" hreflang="ca" data-title="Howl" data-language-autonym="Català" data-language-local-name="Catalan" class="interlanguage-link-target">Català</a></li><li class="interlanguage-link interwiki-cy mw-list-item"><a href="https://cy.wikipedia.org/wiki/Howl" title="Howl – Welsh" lang="cy" hreflang="cy" data-title="Howl" data-language-autonym="Cymraeg" data-language-local-name="Welsh" class="interlanguage-link-target">Cymraeg</a></li><li class="interlanguage-link interwiki-de mw-list-item"><a href="https://de.wikipedia.org/wiki/Howl" title="Howl – German" lang="de" hreflang="de" data-title="Howl" data-language-autonym="Deutsch" data-language-local-name="German" class="interlanguage-link-target">Deutsch</a></li><li class="interlanguage-link interwiki-el mw-list-item"><a href="https://el.wikipedia.org/wiki/%CE%9F%CF%85%CF%81%CE%BB%CE%B9%CE%B1%CF%87%CF%84%CF%8C_(%CF%80%CE%BF%CE%AF%CE%B7%CE%BC%CE%B1)" title="Ουρλιαχτό (ποίημα) – Greek" lang="el" hreflang="el" data-title="Ουρλιαχτό (ποίημα)" data-language-autonym="Ελληνικά" data-language-local-name="Greek" class="interlanguage-link-target">Ελληνικά</a></li><li class="interlanguage-link interwiki-es mw-list-item"><a href="https://es.wikipedia.org/wiki/Aullido_(poema)" title="Aullido (poema) – Spanish" lang="es" hreflang="es" data-title="Aullido (poema)" data-language-autonym="Español" data-language-local-name="Spanish" class="interlanguage-link-target">Español</a></li><li class="interlanguage-link interwiki-fa mw-list-item"><a href="https://fa.wikipedia.org/wiki/%D8%B2%D9%88%D8%B2%D9%87_(%D8%B4%D8%B9%D8%B1)" title="زوزه (شعر) – Persian" lang="fa" hreflang="fa" data-title="زوزه (شعر)" data-language-autonym="فارسی" data-language-local-name="Persian" class="interlanguage-link-target">فارسی</a></li><li class="interlanguage-link interwiki-fr mw-list-item"><a href="https://fr.wikipedia.org/wiki/Howl" title="Howl – French" lang="fr" hreflang="fr" data-title="Howl" data-language-autonym="Français" data-language-local-name="French" class="interlanguage-link-target">Français</a></li><li class="interlanguage-link interwiki-hr mw-list-item"><a href="https://hr.wikipedia.org/wiki/Howl" title="Howl – Croatian" lang="hr" hreflang="hr" data-title="Howl" data-language-autonym="Hrvatski" data-language-local-name="Croatian" class="interlanguage-link-target">Hrvatski</a></li><li class="interlanguage-link interwiki-it mw-list-item"><a href="https://it.wikipedia.org/wiki/Urlo_(poema)" title="Urlo (poema) – Italian" lang="it" hreflang="it" data-title="Urlo (poema)" data-language-autonym="Italiano" data-language-local-name="Italian" class="interlanguage-link-target">Italiano</a></li><li class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Howl" title="Howl – Latin" lang="la" hreflang="la" data-title="Howl" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target">Latina</a></li><li class="interlanguage-link interwiki-mk mw-list-item"><a href="https://mk.wikipedia.org/wiki/%D0%A3%D1%80%D0%BB%D0%B8%D0%BA" title="Урлик – Macedonian" lang="mk" hreflang="mk" data-title="Урлик" data-language-autonym="Македонски" data-language-local-name="Macedonian" class="interlanguage-link-target">Македонски</a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Skowyt_(poemat)" title="Skowyt (poemat) – Polish" lang="pl" hreflang="pl" data-title="Skowyt (poemat)" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target">Polski</a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Howl" title="Howl – Portuguese" lang="pt" hreflang="pt" data-title="Howl" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target">Português</a></li><li class="interlanguage-link interwiki-ru badge-Q17437798 badge-goodarticle mw-list-item" title="good article badge"><a href="https://ru.wikipedia.org/wiki/%D0%92%D0%BE%D0%BF%D0%BB%D1%8C_(%D0%BF%D0%BE%D1%8D%D0%BC%D0%B0)" title="Вопль (поэма) – Russian" lang="ru" hreflang="ru" data-title="Вопль (поэма)" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target">Русский</a></li><li class="interlanguage-link interwiki-sk mw-list-item"><a href="https://sk.wikipedia.org/wiki/Vytie" title="Vytie – Slovak" lang="sk" hreflang="sk" data-title="Vytie" data-language-autonym="Slovenčina" data-language-local-name="Slovak" class="interlanguage-link-target">Slovenčina</a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Huuto_(runo)" title="Huuto (runo) – Finnish" lang="fi" hreflang="fi" data-title="Huuto (runo)" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target">Suomi</a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Howl" title="Howl – Swedish" lang="sv" hreflang="sv" data-title="Howl" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target">Svenska</a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9A%D1%80%D0%B8%D0%BA_(%D0%BF%D0%BE%D0%B5%D0%BC%D0%B0)" title="Крик (поема) – Ukrainian" lang="uk" hreflang="uk" data-title="Крик (поема)" 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searchaux" style="display:none">1955 poem by Allen Ginsberg, part of the Beat Generation movement</div> <style data-mw-deduplicate="TemplateStyles:r1257001546">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}@media screen{html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data:not(.notheme)>div:not(.notheme)[style]{background:#1f1f23!important;color:#f8f9fa}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data:not(.notheme) div:not(.notheme){background:#1f1f23!important;color:#f8f9fa}}@media(min-width:640px){body.skin--responsive .mw-parser-output .infobox-table{display:table!important}body.skin--responsive .mw-parser-output .infobox-table>caption{display:table-caption!important}body.skin--responsive .mw-parser-output .infobox-table>tbody{display:table-row-group}body.skin--responsive .mw-parser-output .infobox-table tr{display:table-row!important}body.skin--responsive .mw-parser-output .infobox-table th,body.skin--responsive .mw-parser-output .infobox-table td{padding-left:inherit;padding-right:inherit}}</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above" style="font-style: background: #ededed;">Howl<span class="Z3988" title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=%27%27Howl%27%27&rft.author=%5B%5BAllen+Ginsberg%5D%5D&rft.place=%5B%5BUnited+States%5D%5D"></th></tr><tr><td colspan="2" class="infobox-subheader" style="font-weight:bold;">by <a href="/wiki/Allen_Ginsberg" title="Allen Ginsberg">Allen Ginsberg</a></td></tr><tr><td colspan="2" class="infobox-image"><a href="/wiki/File:Howl_and_Other_Poems_(first_edition).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Howl_and_Other_Poems_%28first_edition%29.jpg/220px-Howl_and_Other_Poems_%28first_edition%29.jpg" decoding="async" width="220" height="280" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Howl_and_Other_Poems_%28first_edition%29.jpg/330px-Howl_and_Other_Poems_%28first_edition%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/0/0e/Howl_and_Other_Poems_%28first_edition%29.jpg/440px-Howl_and_Other_Poems_%28first_edition%29.jpg 2x" data-file-width="1009" data-file-height="1283" /></a><div class="infobox-caption">Howl and Other Poems was published in the fall of 1956 as number four in the <a href="/wiki/City_Lights_Pocket_Poets_Series" title="City Lights Pocket Poets Series">Pocket Poets Series</a> from <a href="/wiki/City_Lights_Bookstore" title="City Lights Bookstore">City Lights Books</a>.</div></td></tr><tr><th scope="row" class="infobox-label">Written</th><td class="infobox-data">1955</td></tr><tr><th scope="row" class="infobox-label">Country</th><td class="infobox-data location"><a href="/wiki/United_States" title="United States">United States</a></td></tr><tr><th scope="row" class="infobox-label">Language</th><td class="infobox-data"><a href="/wiki/English_(language)" class="mw-redirect" title="English (language)">English</a></td></tr></tbody></table> "Howl", also known as "Howl for Carl Solomon", is a poem written by <a href="/wiki/Allen_Ginsberg" title="Allen Ginsberg">Allen Ginsberg</a> in 1954–1955 and published in his 1956 collection <a href="/wiki/Howl_and_Other_Poems" title="Howl and Other Poems">Howl and Other Poems</a>. The poem is dedicated to <a href="/wiki/Carl_Solomon" title="Carl Solomon">Carl Solomon</a>. Ginsberg began work on "Howl" in 1954. In the Paul Blackburn Tape Archive at the <a href="/wiki/University_of_California,_San_Diego" title="University of California, San Diego">University of California, San Diego</a>, Ginsberg can be heard reading early drafts of his poem to his fellow writing associates. "Howl" is considered to be one of the great works of American literature.<a href="#cite_note-Savage-1">[1]</a><a href="#cite_note-2">[2]</a> It came to be associated with the group of writers known as the <a href="/wiki/Beat_Generation" title="Beat Generation">Beat Generation</a>.<a href="#cite_note-Savage-1">[1]</a> Ginsberg read a draft of "Howl" at the <a href="/wiki/Six_Gallery_reading" title="Six Gallery reading">Six Gallery reading</a> in San Francisco in 1955. Fellow poet <a href="/wiki/Lawrence_Ferlinghetti" title="Lawrence Ferlinghetti">Lawrence Ferlinghetti</a> of <a href="/wiki/City_Lights_Books" class="mw-redirect" title="City Lights Books">City Lights Books</a>, who attended the performance, published the work in 1956. Upon the poem's release, Ferlinghetti and the bookstore's manager, <a href="/wiki/Shigeyoshi_Murao" class="mw-redirect" title="Shigeyoshi Murao">Shigeyoshi Murao</a>, were charged with disseminating <a href="/wiki/Obscene" class="mw-redirect" title="Obscene">obscene</a> literature, and both were arrested. On October 3, 1957, Judge Clayton W. Horn ruled that the poem was not obscene.<a href="#cite_note-Morgan-3">[3]</a> <meta property="mw:PageProp/toc" /> <div class="mw-heading mw-heading2"><h2 id="Writing">Writing</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=1" title="Edit section: Writing">edit</a>]</div> According to Ginsberg's bibliographer and archivist <a href="/wiki/Bill_Morgan_(archivist)" title="Bill Morgan (archivist)">Bill Morgan</a>, it was a terrifying <a href="/wiki/Peyote" title="Peyote">peyote</a> vision that was the principal inspiration for Howl. This occurred on the evening of October 17, 1954, in the <a href="/wiki/Nob_Hill,_San_Francisco" title="Nob Hill, San Francisco">Nob Hill</a> apartment of Sheila Williams, Ginsberg's girlfriend at that time, with whom he was living. Ginsberg had the terrifying experience of seeing the façade of the <a href="/wiki/Sir_Francis_Drake_Hotel" class="mw-redirect" title="Sir Francis Drake Hotel">Sir Francis Drake Hotel</a> in the San Francisco fog as the monstrous face of a child-eating demon. Ginsberg took notes on his vision, and these became the basis for Part II of the poem.<a href="#cite_note-4">[4]</a> In late 1954 and 1955, in an apartment he had rented at 1010 <a href="/wiki/Montgomery_Street" title="Montgomery Street">Montgomery Street</a> in the <a href="/wiki/North_Beach,_San_Francisco" title="North Beach, San Francisco">North Beach</a> neighborhood of San Francisco, Ginsberg worked on the poem, originally referring to it by the working title "Strophes".<a href="#cite_note-5">[5]</a> Some drafts were purportedly written at a coffeehouse called <a href="/wiki/Caffe_Mediterraneum" title="Caffe Mediterraneum">Caffe Mediterraneum</a> in <a href="/wiki/Berkeley,_California" title="Berkeley, California">Berkeley, California</a>; Ginsberg had moved into a small cottage in Berkeley a few blocks from the campus of the University of California on September 1, 1955.<a href="#cite_note-6">[6]</a> Many factors went into the creation of the poem. A short time before the composition of "Howl", Ginsberg's therapist, Dr. Philip Hicks, encouraged him to realize his desire to quit his market-research job and pursue poetry full-time and to accept his own homosexuality.<a href="#cite_note-JournalsMidFifties7-7">[7]</a><a href="#cite_note-Breslin-8">[8]</a><a href="#cite_note-9">[9]</a> He experimented with a syntactic subversion of meaning called <a href="/wiki/Parataxis" title="Parataxis">parataxis</a> in the poem "Dream Record: June 8, 1955" about the death of <a href="/wiki/Joan_Vollmer" title="Joan Vollmer">Joan Vollmer</a>, a technique that became central in "Howl".<a href="#cite_note-JournalsMidFifties7-7">[7]</a><a href="#cite_note-10">[10]</a> Ginsberg showed this poem to <a href="/wiki/Kenneth_Rexroth" title="Kenneth Rexroth">Kenneth Rexroth</a>, who criticized it as too stilted and academic; Rexroth encouraged Ginsberg to free his voice and write from his heart.<a href="#cite_note-11">[11]</a><a href="#cite_note-Miles183-12">[12]</a> Ginsberg took this advice and attempted to write a poem with no restrictions. He was under the immense influence of <a href="/wiki/William_Carlos_Williams" title="William Carlos Williams">William Carlos Williams</a> and <a href="/wiki/Jack_Kerouac" title="Jack Kerouac">Jack Kerouac</a> and attempted to speak with his own voice spontaneously.<a href="#cite_note-Miles183-12">[12]</a><a href="#cite_note-13">[13]</a> Ginsberg began the poem in the <a href="/wiki/Triadic-line_poetry" title="Triadic-line poetry">stepped triadic</a> form he took from Williams but, in the middle of typing the poem, his style altered such that his own unique form (a long line based on breath organized by a fixed base) began to emerge.<a href="#cite_note-JournalsMidFifties7-7">[7]</a><a href="#cite_note-Miles183-12">[12]</a> Ginsberg experimented with this breath-length form in many later poems. The first draft contained what later became Part I and Part III.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] It is noted for relating stories and experiences of Ginsberg's friends and contemporaries, its tumbling, hallucinatory style, and the frank address of sexuality, specifically <a href="/wiki/Homosexuality" title="Homosexuality">homosexuality</a>, which subsequently provoked an obscenity trial. Although Ginsberg referred to many of his friends and acquaintances (including <a href="/wiki/Neal_Cassady" title="Neal Cassady">Neal Cassady</a>, Jack Kerouac, <a href="/wiki/William_S._Burroughs" title="William S. Burroughs">William S. Burroughs</a>, <a href="/wiki/Peter_Orlovsky" title="Peter Orlovsky">Peter Orlovsky</a>, <a href="/wiki/Lucien_Carr" title="Lucien Carr">Lucien Carr</a>, and <a href="/wiki/Herbert_Huncke" title="Herbert Huncke">Herbert Huncke</a>), the primary emotional drive was his sympathy for <a href="/wiki/Carl_Solomon" title="Carl Solomon">Carl Solomon</a>, to whom it was dedicated; he had met Solomon in a <a href="/wiki/Mental_institution" class="mw-redirect" title="Mental institution">mental institution</a> and became friends with him.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Ginsberg later stated this sympathy for Solomon was connected to bottled-up guilt and sympathy for his mother's <a href="/wiki/Schizophrenia" title="Schizophrenia">schizophrenia</a> (she had been <a href="/wiki/Lobotomy" title="Lobotomy">lobotomized</a>), an issue he was not yet ready to address directly.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] In 2008, Peter Orlovsky told the co-directors of the 2010 film <a href="/wiki/Howl_(2010_film)" title="Howl (2010 film)">Howl</a> that a short moonlit walk—during which Orlovsky sang a rendition of the <a href="/wiki/Hank_Williams" title="Hank Williams">Hank Williams</a> song "<a href="/wiki/Howlin%27_At_the_Moon" class="mw-redirect" title="Howlin' At the Moon">Howlin' At the Moon</a>"—may have been the encouragement for the title of Ginsberg's poem. "I never asked him, and he never offered," Orlovsky told them, "but there were things he would pick up on and use in his verse form some way or another. Poets do it all the time."[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] The Dedication by Ginsberg states he took the title from Kerouac.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] <div class="mw-heading mw-heading2"><h2 id="Performance_and_publication">Performance and publication</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=2" title="Edit section: Performance and publication">edit</a>]</div> The poem was first performed at the <a href="/wiki/Six_Gallery_reading" title="Six Gallery reading">Six Gallery</a> in <a href="/wiki/San_Francisco" title="San Francisco">San Francisco</a> on October 7, 1955.<a href="#cite_note-14">[14]</a> Ginsberg had not originally intended the poem for performance. The reading was conceived by <a href="/wiki/Wally_Hedrick" title="Wally Hedrick">Wally Hedrick</a>—a painter and co-founder of the Six—who approached Ginsberg in mid-1955 and asked him to organize a poetry reading at the Six Gallery. "At first, Ginsberg refused. But once he'd written a rough draft of Howl, he changed his 'fucking mind', as he put it."<a href="#cite_note-raskin-15">[15]</a> Ginsberg was ultimately responsible for inviting the readers (<a href="/wiki/Gary_Snyder" title="Gary Snyder">Gary Snyder</a>, <a href="/wiki/Philip_Lamantia" title="Philip Lamantia">Philip Lamantia</a>, <a href="/wiki/Philip_Whalen" title="Philip Whalen">Philip Whalen</a>, <a href="/wiki/Michael_McClure" title="Michael McClure">Michael McClure</a> and <a href="/wiki/Kenneth_Rexroth" title="Kenneth Rexroth">Kenneth Rexroth</a>) and writing the invitation. "Howl" was the second to last reading (before "A Berry Feast" by Snyder) and was considered by most in attendance the highlight of the reading. Many considered it the beginning of a new movement, and the reputation of Ginsberg and those associated with the Six Gallery reading spread throughout San Francisco.<a href="#cite_note-raskin-15">[15]</a> In response to Ginsberg's reading, McClure wrote: "Ginsberg read on to the end of the poem, which left us standing in wonder, or cheering and wondering, but knowing at the deepest level that a barrier had been broken, that a human voice and body had been hurled against the harsh wall of America...."<a href="#cite_note-16">[16]</a> Jack Kerouac gave a first-hand account of the Six Gallery performance (in which Ginsberg is renamed 'Alvah Goldbrook' and the poem becomes 'Wail') in Chapter 2 of his 1958 novel, <a href="/wiki/The_Dharma_Bums" title="The Dharma Bums">The Dharma Bums</a>:<blockquote>Anyway I followed the whole gang of howling poets to the reading at Gallery Six that night, which was, among other important things, the night of the birth of the San Francisco Poetry Renaissance. Everyone was there. It was a mad night. And I was the one who got things jumping by going around collecting dimes and quarters from the rather stiff audience standing around in the gallery and coming back with three huge gallon jugs of California Burgundy and getting them all piffed so that by eleven o'clock when Alvah Goldbrook was reading his poem 'Wail' drunk with arms outspread everybody was yelling 'Go! Go! Go!' (like a jam session) and old Rheinhold Cacoethes the father of the Frisco poetry scene was wiping his tears in gladness.<a href="#cite_note-17">[17]</a></blockquote>Soon afterwards, "Howl" was published by <a href="/wiki/Lawrence_Ferlinghetti" title="Lawrence Ferlinghetti">Lawrence Ferlinghetti</a>, who ran <a href="/wiki/City_Lights_Bookstore" title="City Lights Bookstore">City Lights Bookstore</a> and the City Lights Press. Ginsberg completed Part II and the "Footnote" after Ferlinghetti had promised to publish the poem. It was too short to make an entire book, so Ferlinghetti requested some other poems. Thus the final collection contained several other poems written at that time; with these poems, Ginsberg continued the experimentation with long lines and a fixed base he'd discovered with the composition of "Howl" and these poems have likewise become some of Ginsberg's most famous: "<a href="/wiki/America_(poem)" title="America (poem)">America</a>", "Sunflower Sutra", "<a href="/wiki/A_Supermarket_in_California" title="A Supermarket in California">A Supermarket in California</a>", etc.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] The earliest extant recording of "Howl" was thought to date from March 18, 1956, but in 2007 an earlier recording was found.<a href="#cite_note-18">[18]</a> Ginsberg had read his poem at the Anna Mann dormitory at <a href="/wiki/Reed_College" title="Reed College">Reed College</a> on February 13 and 14, with the second of those dates recorded. The tape was in excellent condition and was released by Omnivore Recordings in 2021.<a href="#cite_note-19">[19]</a> In this recording, Ginsberg performs Part I of his poem. In the March 18 reading, in Berkeley, he performed all three parts.<a href="#cite_note-20">[20]</a> <div class="mw-heading mw-heading2"><h2 id="Overview_and_structure">Overview and structure</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=3" title="Edit section: Overview and structure">edit</a>]</div> The poem consists of 112 paragraph-like lines,<a href="#cite_note-21">[21]</a> which are organized into three parts, with an additional footnote. <div class="mw-heading mw-heading3"><h3 id="Part_I">Part I</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=4" title="Edit section: Part I">edit</a>]</div> Called by Ginsberg "a lament for the Lamb in America with instances of remarkable lamb-like youths", Part I is perhaps the best known, and communicates scenes, characters, and situations drawn from Ginsberg's personal experience as well as from the community of poets, artists, political <a href="/wiki/Political_radicalism" class="mw-redirect" title="Political radicalism">radicals</a>, <a href="/wiki/Jazz" title="Jazz">jazz</a> musicians, <a href="/wiki/Drug_addiction" class="mw-redirect" title="Drug addiction">drug addicts</a>, and psychiatric patients whom he had encountered in the late 1940s and early 1950s. Ginsberg refers to these people, who were underrepresented outcasts in what the poet believed to be an oppressively conformist and materialistic era, as "the best minds of my generation". He describes their experiences in graphic detail, openly discussing drug use and homosexual activity at multiple points. Most lines in this section contain the fixed base "who". In "Notes Written on Finally Recording Howl", Ginsberg writes, "I depended on the word 'who' to keep the beat, a base to keep measure, return to and take off from again onto another streak of invention".<a href="#cite_note-notes-22">[22]</a> <div class="mw-heading mw-heading3"><h3 id="Part_II">Part II</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=5" title="Edit section: Part II">edit</a>]</div> Ginsberg says that Part II, in relation to Part I, "names the monster of mental consciousness that preys on the Lamb". Part II is about the state of industrial civilization, characterized in the poem as "<a href="/wiki/Moloch" title="Moloch">Moloch</a>". Ginsberg was inspired to write Part II during a period of <a href="/wiki/Peyote" title="Peyote">peyote</a>-induced visionary consciousness in which he saw a hotel façade as a monstrous and horrible visage which he identified with that of Moloch, the <a href="/wiki/Bible" title="Bible">Biblical</a> <a href="/wiki/Cult_image" title="Cult image">idol</a> in <a href="/wiki/Leviticus" class="mw-redirect" title="Leviticus">Leviticus</a> to whom the <a href="/wiki/Canaanites" class="mw-redirect" title="Canaanites">Canaanites</a> <a href="/wiki/Human_sacrifice" title="Human sacrifice">sacrificed</a> children.<a href="#cite_note-notes-22">[22]</a> Ginsberg intends that the characters he portrays in Part I be understood to have been sacrificed to this idol. Moloch is also the name of an industrial, <a href="/wiki/Demon" title="Demon">demonic</a> figure in <a href="/wiki/Fritz_Lang" title="Fritz Lang">Fritz Lang</a>'s <a href="/wiki/Metropolis_(1927_film)" title="Metropolis (1927 film)">Metropolis</a>, a film that Ginsberg credits with influencing "Howl, Part II" in his annotations for the poem (see especially Howl: Original Draft Facsimile, Transcript & Variant Versions). Most lines in this section contain the fixed base "Moloch". Ginsberg says of Part II, "Here the long line is used as a <a href="/wiki/Stanza" title="Stanza">stanza</a> form broken into exclamatory units punctuated by a base repetition, Moloch."<a href="#cite_note-notes-22">[22]</a> <div class="mw-heading mw-heading3"><h3 id="Part_III">Part III</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=6" title="Edit section: Part III">edit</a>]</div> Part III, in relation to Parts I, II and IV, is "a litany of affirmation of the Lamb in its glory", according to Ginsberg. It is directly addressed to <a href="/wiki/Carl_Solomon" title="Carl Solomon">Carl Solomon</a>, whom Ginsberg met during a brief stay at a psychiatric hospital in 1949; called "<a href="/wiki/Rockland_Psychiatric_Center" title="Rockland Psychiatric Center">Rockland</a>" in the poem, it was actually Columbia Presbyterian Psychological Institute. This section is notable for its refrain, "I'm with you in Rockland", and represents something of a turning point away from the grim tone of the "Moloch"-section. Of the structure, Ginsberg says Part III is "pyramidal, with a graduated longer response to the fixed base".<a href="#cite_note-notes-22">[22]</a> <div class="mw-heading mw-heading3"><h3 id="Footnote">Footnote</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=7" title="Edit section: Footnote">edit</a>]</div> The closing section of the poem is the "Footnote", characterized by its repetitive "Holy!" mantra, an ecstatic assertion that everything is holy. Ginsberg says, "I remembered the archetypal rhythm of Holy Holy Holy weeping in a bus on Kearny Street, and wrote most of it down in notebook there. ... I set it as 'Footnote to Howl' because it was an extra variation of the form of Part II."<a href="#cite_note-notes-22">[22]</a> <div class="mw-heading mw-heading3"><h3 id="Rhythm">Rhythm</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=8" title="Edit section: Rhythm">edit</a>]</div> The frequently quoted and often parodied<a href="#cite_note-23">[23]</a><a href="#cite_note-24">[24]</a><a href="#cite_note-25">[25]</a><a href="#cite_note-26">[26]</a><a href="#cite_note-27">[27]</a>[<a href="/wiki/Wikipedia:Citing_sources#Bundling_citations" title="Wikipedia:Citing sources">excessive citations</a>] opening lines set the theme and rhythm for the poem: <style data-mw-deduplicate="TemplateStyles:r1244412712">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequotecite{line-height:1.5em;text-align:left;margin-top:0}@media(min-width:500px){.mw-parser-output .templatequotecite{padding-left:1.6em}}</style><blockquote class="templatequote"><div class="poem"> I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix, Angel-headed <a href="/wiki/Hipster_(1940s_subculture)" title="Hipster (1940s subculture)">hipsters</a> burning for the ancient heavenly connection to the starry dynamo in the machinery of night, </div></blockquote> Ginsberg's own commentary discusses the work as an experiment with the "long line". For example, Part I is structured as a single run-on sentence with a repetitive refrain dividing it up into breaths. Ginsberg said, "Ideally each line of 'Howl' is a single breath unit. My breath is long—that's the measure, one physical-mental inspiration of thought contained in the elastic of a breath."<a href="#cite_note-notes-22">[22]</a> On another occasion, he explained: "the line length ... you'll notice that they're all built on <a href="/wiki/Bebop" title="Bebop">bop</a>—you might think of them as a bop refrain—chorus after chorus after chorus—the ideal being, say, <a href="/wiki/Lester_Young" title="Lester Young">Lester Young</a> in <a href="/wiki/Kansas_City,_Missouri" title="Kansas City, Missouri">Kansas City</a> in 1938, blowing 72 choruses of '<a href="/wiki/The_Man_I_Love_(song)" title="The Man I Love (song)">The Man I Love</a>' until everyone in the hall was out of his head..."<a href="#cite_note-baker-28">[28]</a> <div class="mw-heading mw-heading2"><h2 id="1957_obscenity_trial">1957 obscenity trial</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=9" title="Edit section: 1957 obscenity trial">edit</a>]</div> "Howl" contains many references to illicit drugs and sexual practices, both <a href="/wiki/Heterosexuality" title="Heterosexuality">heterosexual</a> and <a href="/wiki/Homosexuality" title="Homosexuality">homosexual</a>. Claiming that the book was obscene, customs officials seized 520 copies of the poem that were being imported from England on March 25, 1957.<a href="#cite_note-29">[29]</a> On June 3 <a href="/wiki/Shig_Murao" title="Shig Murao">Shig Murao</a>, the bookstore manager, was arrested and jailed for selling Howl and Other Poems to an undercover San Francisco police officer. City Lights publisher <a href="/wiki/Lawrence_Ferlinghetti" title="Lawrence Ferlinghetti">Lawrence Ferlinghetti</a> was subsequently arrested for publishing the book. At the obscenity trial, nine literary experts testified on the poem's behalf. Ferlinghetti, a published poet himself, is credited (by <a href="/wiki/David_Skover" title="David Skover">David Skover</a> and <a href="/wiki/Ronald_K._L._Collins" title="Ronald K. L. Collins">Ronald K. L. Collins</a>) with breathing "publishing life" into Ginsberg's poetic career.<a href="#cite_note-30">[30]</a> Supported by the <a href="/wiki/American_Civil_Liberties_Union" title="American Civil Liberties Union">American Civil Liberties Union</a>, Ferlinghetti won the case when <a href="/wiki/Superior_Courts_of_California" class="mw-redirect" title="Superior Courts of California">California State Superior Court</a> Judge Clayton Horn decided that the poem was of "<a href="/wiki/Roth_v._United_States" title="Roth v. United States">redeeming social importance</a>".<a href="#cite_note-31">[31]</a><a href="#cite_note-32">[32]</a> The case was widely publicized, with articles appearing in both <a href="/wiki/Time_(magazine)" title="Time (magazine)">Time</a> and <a href="/wiki/Life_(magazine)" title="Life (magazine)">Life</a> magazines. An account of the trial was published by Ferlinghetti's lead defense attorney <a href="/wiki/Jake_Ehrlich" title="Jake Ehrlich">Jake Ehrlich</a> in a book called Howl of the Censor. The 2010 film <a href="/wiki/Howl_(2010_film)" title="Howl (2010 film)">Howl</a> depicts the events of the trial. <a href="/wiki/James_Franco" title="James Franco">James Franco</a> stars as the young Allen Ginsberg and Andrew Rogers portrays Ferlinghetti.<a href="#cite_note-33">[33]</a> <div class="mw-heading mw-heading2"><h2 id="1969_broadcast_controversy_in_Finland">1969 broadcast controversy in Finland</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=10" title="Edit section: 1969 broadcast controversy in Finland">edit</a>]</div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Yleisradio-hallintoneuvosto-1969.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/94/Yleisradio-hallintoneuvosto-1969.jpg/220px-Yleisradio-hallintoneuvosto-1969.jpg" decoding="async" width="220" height="161" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/94/Yleisradio-hallintoneuvosto-1969.jpg/330px-Yleisradio-hallintoneuvosto-1969.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/94/Yleisradio-hallintoneuvosto-1969.jpg/440px-Yleisradio-hallintoneuvosto-1969.jpg 2x" data-file-width="1920" data-file-height="1403" /></a><figcaption>The administrative board of <a href="/wiki/Yleisradio" class="mw-redirect" title="Yleisradio">Yleisradio</a> getting ready to discuss the broadcast of “Howl” in December 1969.</figcaption></figure> Part one of "Howl" was broadcast in <a href="/wiki/Finland" title="Finland">Finland</a> on September 30, 1969, on <a href="/wiki/Yleisradio" class="mw-redirect" title="Yleisradio">Yleisradio</a>'s (Finland's national public-broadcasting company) "parallel programme" at 10:30 p.m. The poem was read by three actors with <a href="/wiki/Jazz_music" class="mw-redirect" title="Jazz music">jazz music</a> specially composed for this radio broadcast by <a href="/wiki/Henrik_Otto_Donner" title="Henrik Otto Donner">Henrik Otto Donner</a>. The poem was preceded by an eight-minute introduction. The <a href="/wiki/Finnish_language" title="Finnish language">Finnish</a> translation was made by <a href="/wiki/Anselm_Hollo" title="Anselm Hollo">Anselm Hollo</a>.<a href="#cite_note-34">[34]</a> The translation was published already in 1961 in <a href="/wiki/Parnasso" title="Parnasso">Parnasso</a> literary magazine, and caused no turmoil then.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] A <a href="/wiki/Liberal_People%27s_Party_(Finland)" class="mw-redirect" title="Liberal People's Party (Finland)">Liberal People's Party</a> member of the <a href="/wiki/Finnish_Parliament" class="mw-redirect" title="Finnish Parliament">Finnish Parliament</a>, <a href="/wiki/Arne_Berner" title="Arne Berner">Arne Berner</a>, heard the broadcast, and started an <a href="/wiki/Interpellation_(politics)" title="Interpellation (politics)">interpellation</a>, addressed to the Minister of Transport and Public Works. It was signed by him and 82 of the 200 members of parliament.<a href="#cite_note-35">[35]</a> It is unclear how many of the other signatories actually had heard the broadcast. The interpellation text only contained a short extract of six lines (considered to be offensive, and representative of the poem) of over seventy from the poem, and the debate was mainly based upon them.<a href="#cite_note-36">[36]</a> Also, a report of an offence was filed to the criminal investigation department of <a href="/wiki/Helsinki" title="Helsinki">Helsinki</a> police district because the <a href="/wiki/Obscenity" title="Obscenity">obscenity</a> of the poem allegedly offended modesty and delicacy. The report was filed by Suomen kotien radio- ja televisioliitto (The radio and television association of Finnish homes), a Christian and patriotic organization, and it was only based on the six-line fragment. In connection with that, Yleisradio was accused of <a href="/wiki/Copyright_violation" class="mw-redirect" title="Copyright violation">copyright violation</a>.<a href="#cite_note-37">[37]</a> No charges followed.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] At that time, homosexual acts <a href="/wiki/LGBT_history_in_Finland" title="LGBT history in Finland">were still illegal in Finland</a>.[<a href="/wiki/Wikipedia:Citation_needed" title="Wikipedia:Citation needed">citation needed</a>] Finally, the Ministry of Transport and Public Works considered in December 1969 that the broadcast of "Howl" contravened the licence of operation of Yleisradio: it was neither educational nor useful. Yleisradio received a <a href="/wiki/Reprimand" title="Reprimand">reprimand</a>, and was instructed to be more careful when monitoring that no more such programs should be broadcast.<a href="#cite_note-38">[38]</a> <div class="mw-heading mw-heading2"><h2 id="Biographical_references_and_allusions">Biographical references and allusions</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=11" title="Edit section: Biographical references and allusions">edit</a>]</div> <div class="mw-heading mw-heading3"><h3 id="Part_I_2">Part I</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=12" title="Edit section: Part I">edit</a>]</div> <table class="wikitable"> <tbody><tr> <th style="background:#FFF6D6;">Line </th> <th colspan="2" style="background:#EEF6D6;">Reference </th></tr> <tr> <td>"who bared their brains to Heaven under the El and saw <a href="/wiki/Mohammedan" title="Mohammedan">Mohammedan</a> angels staggering on tenement roofs illuminated." </td> <td>This is a direct reference to a story told to Ginsberg by Kerouac about poet <a href="/wiki/Philip_Lamantia" title="Philip Lamantia">Philip Lamantia</a>'s "celestial adventure" after reading the <a href="/wiki/Quran" title="Quran">Quran</a>.<a href="#cite_note-Original124-39">[39]</a> </td></tr> <tr> <td>"Who passed through universities with radiant cool eyes hallucinating <a href="/wiki/Arkansas" title="Arkansas">Arkansas</a> and <a href="/wiki/William_Blake" title="William Blake">Blake</a>—light tragedies among the scholars of war" and "who thought they were only mad when <a href="/wiki/Baltimore" title="Baltimore">Baltimore</a> gleamed in supernatural ecstasy" </td> <td>Ginsberg had an auditory hallucination in 1948 of William Blake reading his poems "Ah, Sunflower", "The Sick Rose", and "Little Girl Lost". Ginsberg said it revealed to him the interconnectedness of all existence. He said his drug experimentation in many ways was an attempt to recapture that feeling.<a href="#cite_note-40">[40]</a><a href="#cite_note-41">[41]</a> </td></tr> <tr> <td>"Who were expelled from the academy for crazy & publishing obscene odes on the windows of the skull" </td> <td>Part of the reason Ginsberg was suspended in his sophomore year<a href="#cite_note-42">[42]</a>[<a href="/wiki/Wikipedia:Citing_sources#What_information_to_include" title="Wikipedia:Citing sources">full citation needed</a>] from <a href="/wiki/Columbia_University" title="Columbia University">Columbia University</a> was because he wrote obscenities in his dirty dorm window. He suspected the cleaning woman of being an <a href="/wiki/Anti-Semite" class="mw-redirect" title="Anti-Semite">anti-Semite</a> because she never cleaned his window, and he expressed this feeling in explicit terms on his window, by writing "Fuck the Jews", and drawing a <a href="/wiki/Swastika" title="Swastika">swastika</a>. He also wrote a phrase on the window implying that the president of the university had no <a href="/wiki/Testicle" title="Testicle">testicles</a>.<a href="#cite_note-43">[43]</a><a href="#cite_note-44">[44]</a> </td></tr> <tr> <td>"who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall" </td> <td><a href="/wiki/Lucien_Carr" title="Lucien Carr">Lucien Carr</a> burned his insanity record, along with $20, at his mother's insistence.<a href="#cite_note-45">[45]</a> </td></tr> <tr> <td>"... poles of Canada and <a href="/wiki/Paterson,_New_Jersey" title="Paterson, New Jersey">Paterson</a>..." </td> <td>Kerouac was <a href="/wiki/French-Canadian" class="mw-redirect" title="French-Canadian">French-Canadian</a> from <a href="/wiki/Lowell,_Massachusetts" title="Lowell, Massachusetts">Lowell, Massachusetts</a>; Ginsberg grew up in Paterson, New Jersey.<a href="#cite_note-46">[46]</a> </td></tr> <tr> <td>"who sank all night in submarine light of Bickford's floated out and sat through the stale beer afternoons in desolate Fugazzi's..." </td> <td><a href="/wiki/Bickford%27s_(restaurant)" title="Bickford's (restaurant)">Bickford's</a> and Fugazzi's were New York spots where the Beats hung out. Ginsberg worked briefly at Fugazzi's.<a href="#cite_note-47">[47]</a><a href="#cite_note-48">[48]</a> </td></tr> <tr> <td>"... Tangerian bone-grindings ..." "... Tangiers to boys ..." and "Holy Tangiers!" </td> <td>William S. Burroughs lived in <a href="/wiki/Tangier,_Morocco" class="mw-redirect" title="Tangier, Morocco">Tangier, Morocco</a> at the time Ginsberg wrote "Howl". He also experienced withdrawal from <a href="/wiki/Heroin" title="Heroin">heroin</a>, which he wrote about in several letters to Ginsberg.<a href="#cite_note-Original126-49">[49]</a> </td></tr> <tr> <td>"who studied <a href="/wiki/Plotinus" title="Plotinus">Plotinus</a> <a href="/wiki/Edgar_Allan_Poe" title="Edgar Allan Poe">Poe</a> <a href="/wiki/St._John_of_the_Cross" class="mw-redirect" title="St. John of the Cross">St. John of the Cross</a> <a href="/wiki/Telepathy" title="Telepathy">telepathy</a> and <a href="/wiki/Bebop" title="Bebop">bop</a> <a href="/wiki/Kabbalah" title="Kabbalah">kabbalah</a> because the cosmos instinctively vibrated at their feet in <a href="/wiki/Kansas" title="Kansas">Kansas</a>" </td> <td>Mystics and forms of mysticism in which Ginsberg at one time had an interest.<a href="#cite_note-Original126-49">[49]</a> </td></tr> <tr> <td>"who disappeared into the volcanoes of Mexico". </td> <td>Both a reference to John Hoffman, a friend of Philip Lamantia and Carl Solomon, who died in Mexico, and a reference to <a href="/wiki/Under_the_Volcano" title="Under the Volcano">Under the Volcano</a> by <a href="/wiki/Malcolm_Lowry" title="Malcolm Lowry">Malcolm Lowry</a>.<a href="#cite_note-Original124-39">[39]</a> </td></tr> <tr> <td>"weeping and undressing while the sirens of Los Alamos wailed them down" </td> <td>A reference to a protest staged by <a href="/wiki/Judith_Malina" title="Judith Malina">Judith Malina</a>, <a href="/wiki/Julian_Beck" title="Julian Beck">Julian Beck</a>, and other members of <a href="/wiki/The_Living_Theatre" title="The Living Theatre">The Living Theatre</a>.<a href="#cite_note-Original128-50">[50]</a> </td></tr> <tr> <td>"who bit detectives in the neck ... dragged off the roof waving genitals and manuscripts." Also, from "who ... fell out of the subway window" to "the blast of colossal steam whistles". </td> <td>A specific reference to <a href="/wiki/Bill_Cannastra" title="Bill Cannastra">Bill Cannastra</a>, who actually did most of these things and died when he "fell out of the subway window".<a href="#cite_note-Original128-50">[50]</a><a href="#cite_note-Miles,_pg._189-51">[51]</a><a href="#cite_note-52">[52]</a> </td></tr> <tr> <td>"Saintly motorcyclists" </td> <td>A reference to <a href="/wiki/Marlon_Brando" title="Marlon Brando">Marlon Brando</a> and his biker persona in <a href="/wiki/The_Wild_One" title="The Wild One">The Wild One</a>.<a href="#cite_note-Original126-49">[49]</a> </td></tr> <tr> <td>From "Who copulated ecstatic and insatiate" to "Who went out whoring through <a href="/wiki/Colorado" title="Colorado">Colorado</a> in myriad stolen night-cars, N. C. secret hero of these poems". Also, from "who barreled down the highways of the past" to "& now <a href="/wiki/Denver,_Colorado" class="mw-redirect" title="Denver, Colorado">Denver</a> is lonesome for her heroes" </td> <td>A reference to <a href="/wiki/Neal_Cassady" title="Neal Cassady">Neal Cassady</a> (N.C.) who lived in Denver, Colorado, and had a reputation for being sexually voracious, as well as stealing cars.<a href="#cite_note-53">[53]</a><a href="#cite_note-Miles,_pg._186-54">[54]</a><a href="#cite_note-Raskin,_pg._137-55">[55]</a> </td></tr> <tr> <td>"who walked all night with their shoes full of blood on the showbank docks waiting for a door in the <a href="/wiki/East_River" title="East River">East River</a> to open to a room full of steamheat and <a href="/wiki/Opium" title="Opium">opium</a>" </td> <td>A specific reference to <a href="/wiki/Herbert_Huncke" title="Herbert Huncke">Herbert Huncke</a>'s condition after being released from <a href="/wiki/Riker%27s_Island" class="mw-redirect" title="Riker's Island">Riker's Island</a>.<a href="#cite_note-Miles,_pg._186-54">[54]</a><a href="#cite_note-56">[56]</a> </td></tr> <tr> <td>"... and rose to build harpsichords in their lofts ..." </td> <td>Friend <a href="/w/index.php?title=Bill_Keck&action=edit&redlink=1" class="new" title="Bill Keck (page does not exist)">Bill Keck</a> built harpsichords. Ginsberg had a conversation with Keck's wife shortly before writing "Howl".<a href="#cite_note-Miles,_pg._189-51">[51]</a><a href="#cite_note-Original134-57">[57]</a><a href="#cite_note-Howl_on_Trial,_pg._34-58">[58]</a> </td></tr> <tr> <td>"who coughed on the sixth floor of <a href="/wiki/Harlem" title="Harlem">Harlem</a> crowned with flame under the tubercular sky surrounded by orange crates of theology" </td> <td>This is a reference to the apartment in which Ginsberg lived when he had his Blake vision. His roommate, Russell Durgin, was a theology student and kept his books in orange crates.<a href="#cite_note-Original134-57">[57]</a><a href="#cite_note-59">[59]</a> </td></tr> <tr> <td>"who threw their watches off the roof to cast their ballot with eternity outside of time ..." </td> <td>A reference to Ginsberg's Columbia classmate <a href="/wiki/Louis_Simpson" title="Louis Simpson">Louis Simpson</a>, an incident that happened during a brief stay in a mental institution for <a href="/wiki/Post-traumatic_stress_disorder" title="Post-traumatic stress disorder">post-traumatic stress disorder</a>.<a href="#cite_note-Miles,_pg._186-54">[54]</a><a href="#cite_note-Original134-57">[57]</a> </td></tr> <tr> <td>"who were burned alive in their innocent flannel suits on <a href="/wiki/Madison_Avenue" title="Madison Avenue">Madison Avenue</a> ... the <a href="/wiki/Nitroglycerine" class="mw-redirect" title="Nitroglycerine">nitroglycerine</a> shrieks of the fairies of advertising" </td> <td>Ginsberg worked as a market researcher for Towne-Oller Associates in San Francisco, on Montgomery Street, not Madison Avenue.<a href="#cite_note-60">[60]</a> </td></tr> <tr> <td>"who jumped off the <a href="/wiki/Brooklyn_Bridge" title="Brooklyn Bridge">Brooklyn Bridge</a> ..." </td> <td>A specific reference to <a href="/wiki/Tuli_Kupferberg" title="Tuli Kupferberg">Tuli Kupferberg</a>.<a href="#cite_note-Original128-50">[50]</a><a href="#cite_note-61">[61]</a> </td></tr> <tr> <td>"who crashed through their minds in jail ..." </td> <td>A reference to <a href="/wiki/Jean_Genet" title="Jean Genet">Jean Genet</a>'s Le Condamné à mort (poem translated as "The Man Sentenced to Death").<a href="#cite_note-Original128-50">[50]</a> </td></tr> <tr> <td>"who retired to Mexico to cultivate a habit, or Rocky Mount to tender <a href="/wiki/Buddha" class="mw-redirect" title="Buddha">Buddha</a> or Tangiers to boys or <a href="/wiki/Southern_Pacific_Transportation_Company" title="Southern Pacific Transportation Company">Southern Pacific</a> to the black locomotive or <a href="/wiki/Harvard" class="mw-redirect" title="Harvard">Harvard</a> to <a href="/wiki/Narcissus_(mythology)" title="Narcissus (mythology)">Narcissus</a> to Woodlawn to the daisychain or grave" </td> <td>Many of the Beats went to Mexico City to "cultivate" a drug "habit", but Ginsberg claims this is a direct reference to Burroughs and Bill Garver, though Burroughs lived in Tangiers at the time<a href="#cite_note-62">[62]</a> (as Ginsberg says in "America": "Burroughs is in Tangiers I don't think he'll come back it's sinister"<a href="#cite_note-63">[63]</a>). <a href="/wiki/Rocky_Mount,_North_Carolina" title="Rocky Mount, North Carolina">Rocky Mount, North Carolina</a>, is where Jack Kerouac's sister lived (as recounted in <a href="/wiki/The_Dharma_Bums" title="The Dharma Bums">The Dharma Bums</a>).<a href="#cite_note-64">[64]</a> Also, Neal Cassady was a brakeman for the Southern Pacific. <a href="/wiki/John_Hollander" title="John Hollander">John Hollander</a> was an alumnus of Harvard. Ginsberg's mother Naomi lived near <a href="/wiki/Woodlawn_Cemetery_(Bronx)" class="mw-redirect" title="Woodlawn Cemetery (Bronx)">Woodlawn Cemetery</a>.<a href="#cite_note-Raskin,_pg._137-55">[55]</a><a href="#cite_note-Original134-57">[57]</a> </td></tr> <tr> <td>"Accusing the radio of hypnotism ..." </td> <td>A reference to Ginsberg's mother Naomi, who suffered from <a href="/wiki/Paranoid_schizophrenia" class="mw-redirect" title="Paranoid schizophrenia">paranoid schizophrenia</a>. It also refers to <a href="/wiki/Antonin_Artaud" title="Antonin Artaud">Antonin Artaud</a>'s reaction to <a href="/wiki/Electroconvulsive_therapy" title="Electroconvulsive therapy">shock therapy</a> and his "To Have Done with the Judgement of God", which Solomon introduced to Ginsberg at Columbia Presbyterian Psychological Institute.<a href="#cite_note-Original130-65">[65]</a><a href="#cite_note-Theado53-66">[66]</a> </td></tr> <tr> <td>From "who threw potato salad at CCNY lecturers on <a href="/wiki/Dadaism" class="mw-redirect" title="Dadaism">Dadaism</a> ..." to "resting briefly in <a href="/wiki/Catatonia" title="Catatonia">catatonia</a>" </td> <td>A specific reference to Carl Solomon. Initially this final section went straight into what is now Part III, which is entirely about Carl Solomon. Dadaism is an art movement emphasizing nonsense and irrationality. In the poem, it is the subject of a lecture that is interrupted by students throwing potato salad at the professors. This ironically mirrored the playfulness of the movement but in a darker context. A Post WW1 cultural movement, Dada stood for 'anti-art', it was against everything that art stood for. Founded in Zurich, Switzerland. The meaning of the word means two different definitions; "hobby horse" and "father", chosen randomly. The Dada movement spread rapidly.<a href="#cite_note-Original131-67">[67]</a><a href="#cite_note-68">[68]</a><a href="#cite_note-69">[69]</a> </td></tr> <tr> <td>"Pilgrim's State's Rockland's and Greystone's foetid halls ..." and "I'm with you in Rockland" </td> <td>These are mental institutions associated with either Ginsberg's mother Naomi or Carl Solomon: Pilgrim State Hospital and Rockland State Hospital in New York and <a href="/wiki/Greystone_Park_Psychiatric_Hospital" title="Greystone Park Psychiatric Hospital">Greystone Park Psychiatric Hospital</a> in <a href="/wiki/New_Jersey" title="New Jersey">New Jersey</a>. Ginsberg met Solomon at Columbia Presbyterian Psychological Institute, but "Rockland" was frequently substituted for "rhythmic euphony".<a href="#cite_note-Original130-65">[65]</a><a href="#cite_note-Theado53-66">[66]</a><a href="#cite_note-70">[70]</a> </td></tr> <tr> <td>"with mother finally ******" </td> <td>Ginsberg admitted that the deletion here was an expletive. He left it purposefully elliptical "to introduce appropriate element of uncertainty". In later readings, many years after he was able to distance himself from his difficult history with his mother, he reinserted the word "fucked".<a href="#cite_note-Original131-67">[67]</a> </td></tr> <tr> <td>"obsessed with a sudden flash of the <a href="/wiki/Alchemy" title="Alchemy">alchemy</a> of the use of the ellipse the catalog the meter (alt: variable measure) & the vibrating plane". Also, from "who dreamt and made incarnate gaps in Time & Space" to "what might be left to say in time come after death". </td> <td>This is a recounting of Ginsberg's discovery of his own style and the debt he owed to his strongest influences. He discovered the use of the ellipse from <a href="/wiki/Haiku" title="Haiku">haiku</a> and the shorter poetry of <a href="/wiki/Ezra_Pound" title="Ezra Pound">Ezra Pound</a> and <a href="/wiki/William_Carlos_Williams" title="William Carlos Williams">William Carlos Williams</a>. "The catalog" is a reference to Walt Whitman's long line style which Ginsberg adapted. "The meter"/"variable measure" is a reference to Williams' insistence on the necessity of measure. Though "Howl" may seem formless, Ginsberg claimed it was written in a concept of measure adapted from Williams' idea of breath, the measure of lines in a poem being based on the breath in reading. Ginsberg's breath in reading, he said, happened to be longer than Williams'. "The vibrating plane" is a reference to Ginsberg's discovery of the "eyeball kick" in his study of Cézanne.<a href="#cite_note-71">[71]</a><a href="#cite_note-72">[72]</a><a href="#cite_note-73">[73]</a> </td></tr> <tr> <td>"Pater Omnipotens Aeterna Deus"/"omnipotent, eternal father God" </td> <td>This was taken directly from <a href="/wiki/C%C3%A9zanne" class="mw-redirect" title="Cézanne">Cézanne</a>.<a href="#cite_note-Original130-65">[65]</a><a href="#cite_note-74">[74]</a> </td></tr> <tr> <td>"to recreate the measure and syntax of poor human prose ..." </td> <td>A reference to the tremendous influence Kerouac and his ideas of "Spontaneous Prose" had on Ginsberg's work and specifically this poem.<a href="#cite_note-75">[75]</a><a href="#cite_note-76">[76]</a> </td></tr> <tr> <td>"what might be left to say in time come after death" </td> <td>A reference to <a href="/wiki/Louis_Zukofsky" title="Louis Zukofsky">Louis Zukofsky</a>'s translation of <a href="/wiki/Catullus" title="Catullus">Catullus</a>: "What might be left to say anew in time after death ..." Also a reference to a section from the final pages of <a href="/wiki/Visions_of_Cody" title="Visions of Cody">Visions of Cody</a>, "I'm writing this book because we're all going to die", and so on.<a href="#cite_note-Original130-65">[65]</a> </td></tr> <tr> <td>"eli eli lama sabachthani" </td> <td>One of the <a href="/wiki/Sayings_of_Jesus_on_the_cross" title="Sayings of Jesus on the cross">sayings of Jesus on the cross</a>, also <a href="/wiki/Psalm_22" title="Psalm 22">Psalm 22</a>:1: "My God, my God, why have you forsaken me?" The phrase in Psalms was transliterated as "azavtani"; however, Ginsberg stayed true to how Jesus translated the phrase in the Gospels. The phrase used by Ginsberg was translated properly as "Why have you sacrificed me?" This ties into the themes of misfortune and religious adulation of conformity through the invocation of Moloch in Part II. Though Ginsberg grew up in an <a href="/wiki/Agnostic" class="mw-redirect" title="Agnostic">agnostic</a> household, he was very interested in his Jewish roots and in other concepts of spiritual transcendence. Although later Ginsberg was a devoted Buddhist, at this time he was only beginning to study Buddhism along with other forms of spirituality.<a href="#cite_note-Original134-57">[57]</a> </td></tr></tbody></table> <div class="mw-heading mw-heading3"><h3 id="Part_II_2">Part II</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=13" title="Edit section: Part II">edit</a>]</div> <table class="wikitable"> <tbody><tr> <th style="background:#FFF6D6;">Line </th> <th colspan="2" style="background:#EEF6D6;">Reference </th></tr> <tr> <td>"Moloch! Solitude! Filth! Ugliness!" </td> <td>Fire god of the <a href="/wiki/Canaan" title="Canaan">Canaanites</a> referred to in <a href="/wiki/Leviticus_18" title="Leviticus 18">Leviticus 18:21</a>: "And thou shalt not let any of thy seed pass through the fire to Molech." Worship of Moloch involved the sacrifice of children by fire.<a href="#cite_note-Howl_on_Trial,_pg._34-58">[58]</a><a href="#cite_note-Original139-77">[77]</a> </td></tr> <tr> <td>"Moloch whose buildings are judgement!" </td> <td>A reference to <a href="/wiki/Urizen" title="Urizen">Urizen</a>, one of <a href="/wiki/William_Blake" title="William Blake">William Blake</a>'s four <a href="/wiki/Zoas" class="mw-redirect" title="Zoas">Zoas</a>.<a href="#cite_note-Original139-77">[77]</a> </td></tr> <tr> <td>"Crossbone soulless jailhouse and congress of sorrows ..." and "Holy the solitudes of skyscrapers and pavements! Holy the cafeterias filled with the millions!" </td> <td>A reference to <a href="/wiki/Gods%27_Man" title="Gods' Man">Gods' Man</a>, a <a href="/wiki/Graphic_novel" title="Graphic novel">graphic novel</a> by <a href="/wiki/Lynd_Ward" title="Lynd Ward">Lynd Ward</a> which was in Ginsberg’s childhood library.<a href="#cite_note-78">[78]</a> </td></tr> <tr> <td>From "Moloch whose breast is a <a href="/wiki/Human_cannibalism" title="Human cannibalism">cannibal</a> dynamo!" to "Moloch whose skyscrapers stand in the long streets like endless <a href="/wiki/Jehovah" title="Jehovah">Jehovahs</a>!" </td> <td>A reference to several films by <a href="/wiki/Fritz_Lang" title="Fritz Lang">Fritz Lang</a>, most notably <a href="/wiki/Metropolis_(1927_film)" title="Metropolis (1927 film)">Metropolis</a> in which the name "Moloch" is directly related to a monstrous factory. Ginsberg also claimed he was inspired by Lang's <a href="/wiki/M_(1931_film)" title="M (1931 film)">M</a> and <a href="/wiki/The_Testament_of_Dr._Mabuse" title="The Testament of Dr. Mabuse">The Testament of Dr. Mabuse</a>.<a href="#cite_note-Original140-79">[79]</a> </td></tr> <tr> <td>"Moloch whose eyes are a thousand blind windows!" </td> <td>Ginsberg claimed Part II of "Howl" was inspired by a peyote-induced vision of the Sir Francis Drake Hotel in San Francisco which appeared to him as a monstrous face.<a href="#cite_note-Miles,_pg._189-51">[51]</a><a href="#cite_note-Original140-79">[79]</a><a href="#cite_note-80">[80]</a> </td></tr> <tr> <td>From "Moloch whose soul is electricity and banks!" to "Moloch whose name is the Mind!" </td> <td>A reference to <a href="/wiki/Ezra_Pound" title="Ezra Pound">Ezra Pound</a>'s idea of <a href="/wiki/Usury" title="Usury">usury</a> as related in the <a href="/wiki/Canto" title="Canto">Cantos</a> and ideas from Blake, specifically the "Mind forg'd manacles" from "London". Ginsberg claimed "Moloch whose name is the Mind!" is "a crux of the poem".<a href="#cite_note-Original142-81">[81]</a> </td></tr> <tr> <td>"Lifting the city to <a href="/wiki/Heaven" title="Heaven">Heaven</a> which exists and is everywhere about us" </td> <td>A reference to "Morning" from Season in Hell by <a href="/wiki/Arthur_Rimbaud" title="Arthur Rimbaud">Arthur Rimbaud</a>.<a href="#cite_note-Original142-81">[81]</a> </td></tr></tbody></table> <div class="mw-heading mw-heading3"><h3 id="Part_III_2">Part III</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=14" title="Edit section: Part III">edit</a>]</div> <table class="wikitable"> <tbody><tr> <th style="background:#FFF6D6;">Line </th> <th colspan="2" style="background:#EEF6D6;">Reference </th></tr> <tr> <td>"I'm with you in Rockland/where we are great writers on the same dreadful typewriter ..." </td> <td>At Columbia Presbyterian Psychological Institute, Ginsberg and Solomon wrote satirical letters to <a href="/wiki/Malcolm_de_Chazal" title="Malcolm de Chazal">Malcolm de Chazal</a> and <a href="/wiki/T._S._Eliot" title="T. S. Eliot">T. S. Eliot</a> which they did not ultimately send.<a href="#cite_note-82">[82]</a><a href="#cite_note-83">[83]</a> </td></tr> <tr> <td>"I'm with you in Rockland/where you drink the tea of the breasts of the spinsters of Utica." </td> <td>A reference to <a href="/wiki/The_Breasts_of_Tiresias" title="The Breasts of Tiresias">Mamelles de Tiresias</a> by <a href="/wiki/Guillaume_Apollinaire" title="Guillaume Apollinaire">Guillaume Apollinaire</a>.<a href="#cite_note-Original144-84">[84]</a> </td></tr> <tr> <td>From "I'm with you in Rockland/where you scream in a straightjacket" to "fifty more shocks will never return your soul to its body again ..." </td> <td>Solomon received shock treatment and was put in a straightjacket at Pilgrim State.<a href="#cite_note-Original144-84">[84]</a> </td></tr> <tr> <td>"I'm with you in Rockland/where you bang on a catatonic piano ..." </td> <td>Ginsberg was the one reprimanded for banging on a piano at CPPI.<a href="#cite_note-Original145-85">[85]</a><a href="#cite_note-86">[86]</a> </td></tr> <tr> <td>"I'm with you in Rockland/where you split the heavens of <a href="/wiki/Long_Island" title="Long Island">Long Island</a> ..." </td> <td>Pilgrim State is located on Long Island.<a href="#cite_note-Original145-85">[85]</a> </td></tr> <tr> <td>"I'm with you in Rockland/where there are twenty five thousand mad comrades all together singing the final stanzas of <a href="/wiki/The_Internationale" title="The Internationale">the Internationale</a> ..." </td> <td>The population of Pilgrim State was 25,000. "<a href="/wiki/The_Internationale" title="The Internationale">The Internationale</a>" was a song used and made popular by worker movements, and was featured in the <a href="/wiki/Little_Red_Songbook" title="Little Red Songbook">Little Red Songbook</a> of the <a href="/wiki/Industrial_Workers_of_the_World" title="Industrial Workers of the World">Industrial Workers of the World</a>.<a href="#cite_note-Original145-85">[85]</a> </td></tr> <tr> <td>"... the door of my cottage in the Western night." </td> <td>A reference to the cottage on Milvia Street in Berkeley, California, where many of the poems in Howl and Other Poems were composed, including "A Strange New Cottage in Berkeley".<a href="#cite_note-Original145-85">[85]</a> </td></tr></tbody></table> <div class="mw-heading mw-heading3"><h3 id="Footnote_to_"Howl"">Footnote to "Howl"</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=15" title="Edit section: Footnote to "Howl"">edit</a>]</div> <table class="wikitable"> <tbody><tr> <th style="background:#FFF6D6;">Line </th> <th colspan="2" style="background:#EEF6D6;">Reference </th></tr> <tr> <td>"Everyday is in eternity!" </td> <td>A reference to "<a href="/wiki/Auguries_of_Innocence" title="Auguries of Innocence">Auguries of Innocence</a>" by Blake: "Hold Infinity in the palm of your hand/And Eternity in an hour.” <a href="#cite_note-Original146-87">[87]</a> </td></tr> <tr> <td>"Holy Peter holy Allen holy Solomon holy Lucien holy Kerouac holy Huncke holy Burroughs holy Cassady ..." </td> <td><a href="/wiki/Peter_Orlovsky" title="Peter Orlovsky">Peter Orlovsky</a>, Allen Ginsberg, <a href="/wiki/Carl_Solomon" title="Carl Solomon">Carl Solomon</a>, <a href="/wiki/Lucien_Carr" title="Lucien Carr">Lucien Carr</a>, <a href="/wiki/Jack_Kerouac" title="Jack Kerouac">Jack Kerouac</a>, <a href="/wiki/Herbert_Huncke" title="Herbert Huncke">Herbert Huncke</a>, <a href="/wiki/William_S._Burroughs" title="William S. Burroughs">William S. Burroughs</a>, and <a href="/wiki/Neal_Cassady" title="Neal Cassady">Neal Cassady</a>.<a href="#cite_note-Original146-87">[87]</a> </td></tr> <tr> <td>"Holy the Fifth International" </td> <td>A reference to four "Internationals", meetings of <a href="/wiki/Communist_International" title="Communist International">Communist</a>, <a href="/wiki/Socialist_International" title="Socialist International">Socialist</a>, and/or <a href="/wiki/Labourism" class="mw-redirect" title="Labourism">Labor</a> groups. The <a href="/wiki/First_International" class="mw-redirect" title="First International">First International</a> was headed by <a href="/wiki/Karl_Marx" title="Karl Marx">Karl Marx</a> and <a href="/wiki/Frederick_Engels" class="mw-redirect" title="Frederick Engels">Frederick Engels</a> in 1864. The <a href="/wiki/Fourth_International" title="Fourth International">Fourth International</a> was a meeting of <a href="/wiki/Trotskyists" class="mw-redirect" title="Trotskyists">Trotskyists</a> in 1938. The Fifth International, Ginsberg would claim, is yet to come.<a href="#cite_note-Original146-87">[87]</a> </td></tr></tbody></table> <div class="mw-heading mw-heading2"><h2 id="Critical_reception">Critical reception</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=16" title="Edit section: Critical reception">edit</a>]</div> <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a> sent <a href="/wiki/Richard_Eberhart" title="Richard Eberhart">Richard Eberhart</a> to <a href="/wiki/San_Francisco" title="San Francisco">San Francisco</a> in 1956 to report on the poetry scene there. The result of Eberhart's visit was an article published in the September 2, 1956 <a href="/wiki/New_York_Times_Book_Review" class="mw-redirect" title="New York Times Book Review">New York Times Book Review</a> titled "West Coast Rhythms". Eberhart's piece helped call national attention to "Howl" as "the most remarkable poem of the young group" of poets who were becoming known as the spokespersons of the <a href="/wiki/Beat_generation" class="mw-redirect" title="Beat generation">Beat generation</a>.<a href="#cite_note-88">[88]</a> On October 7, 2005, celebrations marking the 50th anniversary of the first reading of the poem were staged in San Francisco, New York City, and in <a href="/wiki/Leeds" title="Leeds">Leeds</a> in the UK. The British event, Howl for Now, was accompanied by a book of essays of the same name, edited by Simon Warner and published by Route Publishing (Howl for Now <style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-901927-25-3" title="Special:BookSources/1-901927-25-3">1-901927-25-3</a>) reflecting on the piece's enduring influence. <div class="mw-heading mw-heading3"><h3 id="1997_broadcasting_controversy">1997 broadcasting controversy</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=17" title="Edit section: 1997 broadcasting controversy">edit</a>]</div> <a href="/wiki/Boston" title="Boston">Boston</a> independent alternative rock radio station <a href="/wiki/WFNX_(101.7_FM)" class="mw-redirect" title="WFNX (101.7 FM)">WFNX</a> became the first commercial radio station to broadcast "Howl" on Friday, July 18, 1997, at 6:00 p.m. despite <a href="/wiki/Federal_Communications_Commission" title="Federal Communications Commission">Federal Communications Commission</a> (FCC) <a href="/wiki/Watershed_(television)" class="mw-redirect" title="Watershed (television)">Safe Harbor</a> laws which allow for mature content later at night.<a href="#cite_note-89">[89]</a><a href="#cite_note-90">[90]</a> <div class="mw-heading mw-heading3"><h3 id="2007_broadcasting_fears">2007 broadcasting fears</h3>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=18" title="Edit section: 2007 broadcasting fears">edit</a>]</div> In late August 2007, Ron Collins, Lawrence Ferlinghetti, Nancy Peters, Bill Morgan, Peter Hale, David Skover, <a href="/wiki/Al_Bendich" title="Al Bendich">Al Bendich</a> (one of Ferlinghetti's lawyers in the 1957 obscenity trial), and Eliot Katz petitioned <a href="/wiki/Pacifica_Radio" class="mw-redirect" title="Pacifica Radio">Pacifica Radio</a> to air Ginsberg's Howl on October 3, 2007, to commemorate the 50th anniversary of the verdict declaring the poem to be protected under the <a href="/wiki/First_Amendment_to_the_United_States_Constitution" title="First Amendment to the United States Constitution">First Amendment</a> against charges of obscenity. Fearing fines from the FCC, Pacifica New York radio station <a href="/wiki/WBAI" title="WBAI">WBAI</a> opted not to broadcast the poem. The station chose instead to play the poem on a special <a href="/wiki/Webcast" title="Webcast">webcast</a> program, replete with commentary (by Bob Holman, Regina Weinreich and Ron Collins, narrated by Janet Coleman), on October 3, 2007.<a href="#cite_note-91">[91]</a> <div class="mw-heading mw-heading2"><h2 id="Legacy">Legacy</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=19" title="Edit section: Legacy">edit</a>]</div> Part II of the poem was used as libretto for Song #7 in <a href="/wiki/Hydrogen_Jukebox" title="Hydrogen Jukebox">Hydrogen Jukebox</a>, a 1990 <a href="/wiki/Chamber_opera" title="Chamber opera">chamber opera</a> using a selection of Ginsberg's poems set to music by <a href="/wiki/Philip_Glass" title="Philip Glass">Philip Glass</a>.<a href="#cite_note-92">[92]</a> The title itself comes from the poem: "...listening to the crack of doom on the hydrogen jukebox..."<a href="#cite_note-93">[93]</a> The first line of the poem, "I saw the best minds of my generation destroyed by madness, starving hysterical ..." was also used as the opening line in the song "<a href="/wiki/John_Henry_(album)" title="John Henry (album)">I Should Be Allowed To Think</a>" by <a href="/wiki/They_Might_Be_Giants" title="They Might Be Giants">They Might Be Giants</a>. <div class="mw-heading mw-heading2"><h2 id="Film">Film</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=20" title="Edit section: Film">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1236090951">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}@media print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">Main article: <a href="/wiki/Howl_(2010_film)" title="Howl (2010 film)">Howl (2010 film)</a></div> The 2010 film Howl explored Ginsberg's life and works. Constructed in a <a href="/wiki/Nonlinear_narrative" title="Nonlinear narrative">nonlinear</a> fashion, the film juxtaposes historical events with a variety of <a href="/wiki/Cinematic_techniques" title="Cinematic techniques">cinematic techniques</a>. It reconstructs the <a href="/wiki/Beat_poets#History" class="mw-redirect" title="Beat poets">early life of Ginsberg during the 1940s and 1950s</a>. It also re-enacts Ginsberg's debut performance of "Howl" at the <a href="/wiki/Six_Gallery_reading" title="Six Gallery reading">Six Gallery Reading</a> on October 7, 1955, in black-and-white.<a href="#cite_note-94">[94]</a> Parts of the poem are interpreted through animated sequences, and the events are juxtaposed with color images of Ferlinghetti's 1957 obscenity trial. <div class="mw-heading mw-heading2"><h2 id="References">References</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=21" title="Edit section: References">edit</a>]</div> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-columns references-column-width" style="column-width: 30em;"> <ol class="references"> <li id="cite_note-Savage-1">^ <a href="#cite_ref-Savage_1-0">a</a> <a href="#cite_ref-Savage_1-1">b</a> Bill Savage (2008). <a rel="nofollow" class="external text" href="http://www.poets.org/viewmedia.php/prmMID/20201">Allen Ginsberg's "Howl" and the Paperback Revolution</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110905062311/http://www.poets.org/viewmedia.php/prmMID/20201">Archived</a> 2011-09-05 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>. Poets.org, Academy of American Poets. </li> <li id="cite_note-2"><a href="#cite_ref-2">^</a> Jonah Raski (2006). <a rel="nofollow" class="external text" href="https://archive.org/details/americanscreamal0000rask/page/223">American Scream: Allen Ginsberg's Howl and the Making of the Beat Generation</a>. University of California Press. 223. </li> <li id="cite_note-Morgan-3"><a href="#cite_ref-Morgan_3-0">^</a> Morgan, Bill and Joyce Peters. Howl on Trial.(2006) p. xiii. </li> <li id="cite_note-4"><a href="#cite_ref-4">^</a> Bill Morgan, The Typewriter Is Holy: Complete, Uncensored History of the Beat Generation (New York: Free Press, 2010), pp. 86–87. In the introduction Morgan says: "[F]or the last two decades of Allen Ginsberg's life, I assisted him daily as his bibliographer and archivist. During that period, I managed to track down nearly everything that he had ever published and a good deal of what had been printed about him. It was a mammoth task. Every day, as I walked to the apartment that served both as Allen's home and office, I wondered what new treasures I'd uncover. ... After I sold his archive to Stanford University for a million dollars, Allen referred everyone with questions about their papers to me" (p. xvi). </li> <li id="cite_note-5"><a href="#cite_ref-5">^</a> Morgan, The Typewriter Is Holy (2010), pp. 92 & 96. </li> <li id="cite_note-6"><a href="#cite_ref-6">^</a> Morgan, The Typewriter Is Holy (2010), p. 97. </li> <li id="cite_note-JournalsMidFifties7-7">^ <a href="#cite_ref-JournalsMidFifties7_7-0">a</a> <a href="#cite_ref-JournalsMidFifties7_7-1">b</a> <a href="#cite_ref-JournalsMidFifties7_7-2">c</a> Allen Ginsberg. Journals Mid-Fifties: 1954–1958. Ed. Gordon Ball. HarperCollins, 1995. 0060167718. </li> <li id="cite_note-Breslin-8"><a href="#cite_ref-Breslin_8-0">^</a> James Breslin. "Allen Ginsberg: The Origins of Howl and Kaddish." Poetry Criticism. Ed. David M. Galens. Vol. 47. Detroit: Gale, 2003. </li> <li id="cite_note-9"><a href="#cite_ref-9">^</a> Morgan, The Typewriter Is Holy (2010), p. 92 </li> <li id="cite_note-10"><a href="#cite_ref-10">^</a> Miles, Barry. Ginsberg: A Biography. London: Virgin Publishing Ltd. (2001), paperback, 628 pages, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7535-0486-3" title="Special:BookSources/0-7535-0486-3">0-7535-0486-3</a>, p. 182 </li> <li id="cite_note-11"><a href="#cite_ref-11">^</a> Journals Mid-Fifties, p. 9 </li> <li id="cite_note-Miles183-12">^ <a href="#cite_ref-Miles183_12-0">a</a> <a href="#cite_ref-Miles183_12-1">b</a> <a href="#cite_ref-Miles183_12-2">c</a> Miles, p. 183 </li> <li id="cite_note-13"><a href="#cite_ref-13">^</a> Journals Mid-Fifties, p. 167 </li> <li id="cite_note-14"><a href="#cite_ref-14">^</a> <a rel="nofollow" class="external text" href="http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/10/04/DDGKPF12031.DTL">Heidi Benson, "Howl", San Francisco Chronicle", October 4, 2005</a> </li> <li id="cite_note-raskin-15">^ <a href="#cite_ref-raskin_15-0">a</a> <a href="#cite_ref-raskin_15-1">b</a> Jonah Raskin, American Scream: Allen Ginsberg's "Howl" and the Making of the Beat Generation </li> <li id="cite_note-16"><a href="#cite_ref-16">^</a> <a rel="nofollow" class="external text" href="http://www.poets.org/poet.php/prmPID/8">Poets.org, From the Academy of American Poets: Allen Ginsberg</a> </li> <li id="cite_note-17"><a href="#cite_ref-17">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFKerouac1994" class="citation book cs1">Kerouac, Jack (1994). The Dharma Bums. Great Britain: Phoenix Harpercollins. p. 15. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0586091580" title="Special:BookSources/0586091580"><bdi>0586091580</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Dharma+Bums&rft.place=Great+Britain&rft.pages=15&rft.pub=Phoenix+Harpercollins&rft.date=1994&rft.isbn=0586091580&rft.aulast=Kerouac&rft.aufirst=Jack&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-18"><a href="#cite_ref-18">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSuiter2008" class="citation web cs1">Suiter, John (December 1, 2008). <a rel="nofollow" class="external text" href="https://www.reed.edu/reed-magazine/articles/2008/ginsberg-howl-reed.html">"When The Beats Came Back"</a>. Reed Magazine.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Reed+Magazine&rft.atitle=When+The+Beats+Came+Back&rft.date=2008-12-01&rft.aulast=Suiter&rft.aufirst=John&rft_id=https%3A%2F%2Fwww.reed.edu%2Freed-magazine%2Farticles%2F2008%2Fginsberg-howl-reed.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-19"><a href="#cite_ref-19">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://omnivorerecordings.com/shop/at-reed-college/">"Allen Ginsberg: At Reed College: The First Recorded Reading Of Howl & Other Poems"</a>. Omnivore Recordings.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Omnivore+Recordings&rft.atitle=Allen+Ginsberg%3A+At+Reed+College%3A+The+First+Recorded+Reading+Of+Howl+%26+Other+Poems&rft_id=https%3A%2F%2Fomnivorerecordings.com%2Fshop%2Fat-reed-college%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-20"><a href="#cite_ref-20">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSuiter" class="citation web cs1">Suiter, John. <a rel="nofollow" class="external text" href="https://www.reed.edu/reed-magazine/articles/2008/ginsberg-howl-reed.html">"When The Beats Came Back"</a>. Reed Magazine.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Reed+Magazine&rft.atitle=When+The+Beats+Came+Back&rft.aulast=Suiter&rft.aufirst=John&rft_id=https%3A%2F%2Fwww.reed.edu%2Freed-magazine%2Farticles%2F2008%2Fginsberg-howl-reed.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-21"><a href="#cite_ref-21">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation book cs1"><a rel="nofollow" class="external text" href="https://books.google.com/books?id=pIN1DwAAQBAJ&q=112+lines+is+howl+ginsberg+paragraph&pg=PA74">Poetry Across the Curriculum: New Methods of Writing Intensive Pedagogy for U.S. Community College and Undergraduate Education</a>. Brill. 2018. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-90-04-38067-7" title="Special:BookSources/978-90-04-38067-7"><bdi>978-90-04-38067-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Poetry+Across+the+Curriculum%3A+New+Methods+of+Writing+Intensive+Pedagogy+for+U.S.+Community+College+and+Undergraduate+Education&rft.pub=Brill&rft.date=2018&rft.isbn=978-90-04-38067-7&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DpIN1DwAAQBAJ%26q%3D112%2Blines%2Bis%2Bhowl%2Bginsberg%2Bparagraph%26pg%3DPA74&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-notes-22">^ <a href="#cite_ref-notes_22-0">a</a> <a href="#cite_ref-notes_22-1">b</a> <a href="#cite_ref-notes_22-2">c</a> <a href="#cite_ref-notes_22-3">d</a> <a href="#cite_ref-notes_22-4">e</a> <a href="#cite_ref-notes_22-5">f</a> Ginsberg, Allen. "Notes Written on Finally Recording 'Howl.'" Deliberate Prose: Selected Essays 1952–1995. Ed. Bill Morgan. New York: Harper Collins, 2000. </li> <li id="cite_note-23"><a href="#cite_ref-23">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.rawstory.com/2013/01/howl-at-the-internet/">"'Howl' at the Internet"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%27Howl%27+at+the+Internet&rft_id=https%3A%2F%2Fwww.rawstory.com%2F2013%2F01%2Fhowl-at-the-internet%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-24"><a href="#cite_ref-24">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScoville" class="citation web cs1">Scoville, Thomas. <a rel="nofollow" class="external text" href="http://www.salon.com/2000/03/22/howl/">"Howl.com"</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Howl.com&rft.aulast=Scoville&rft.aufirst=Thomas&rft_id=http%3A%2F%2Fwww.salon.com%2F2000%2F03%2F22%2Fhowl%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-25"><a href="#cite_ref-25">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFLowry2006" class="citation book cs1">Lowry, Brigid (2006). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=vJRnTI63jdEC&q=howl%20parody%20%22best%20minds%22&pg=PA57">Guitar Highway Rose</a>. Macmillan. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780312342968" title="Special:BookSources/9780312342968"><bdi>9780312342968</bdi></a> – via Google Books.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Guitar+Highway+Rose&rft.pub=Macmillan&rft.date=2006&rft.isbn=9780312342968&rft.aulast=Lowry&rft.aufirst=Brigid&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DvJRnTI63jdEC%26q%3Dhowl%2520parody%2520%2522best%2520minds%2522%26pg%3DPA57&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-26"><a href="#cite_ref-26">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFColagrande2014" class="citation web cs1">Colagrande, J. J. (19 February 2014). <a rel="nofollow" class="external text" href="http://www.huffingtonpost.com/jj-colagrande/prowl-a-parody-on-miamis-_b_4805184.html">""PROWL", a Parody on Miami's Transience and Eccentricities"</a>. <a href="/wiki/HuffPost" title="HuffPost">HuffPost</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=HuffPost&rft.atitle=%22PROWL%22%2C+a+Parody+on+Miami%27s+Transience+and+Eccentricities&rft.date=2014-02-19&rft.aulast=Colagrande&rft.aufirst=J.+J.&rft_id=http%3A%2F%2Fwww.huffingtonpost.com%2Fjj-colagrande%2Fprowl-a-parody-on-miamis-_b_4805184.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-27"><a href="#cite_ref-27">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFelber2014" class="citation web cs1">Felber, Katie (25 August 2014). <a rel="nofollow" class="external text" href="http://www.huffingtonpost.com/katie-felber/i-rewrote-ginsbergs-howl-_b_5701386.html">"I Re-Wrote Ginsberg's 'Howl' for This Generation"</a>. <a href="/wiki/HuffPost" title="HuffPost">HuffPost</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=HuffPost&rft.atitle=I+Re-Wrote+Ginsberg%27s+%27Howl%27+for+This+Generation&rft.date=2014-08-25&rft.aulast=Felber&rft.aufirst=Katie&rft_id=http%3A%2F%2Fwww.huffingtonpost.com%2Fkatie-felber%2Fi-rewrote-ginsbergs-howl-_b_5701386.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-baker-28"><a href="#cite_ref-baker_28-0">^</a> Jeff Baker, <a rel="nofollow" class="external text" href="http://www.oregonlive.com/news/oregonian/index.ssf?/base/news/120279750587750.xml&coll=7">"'Howl' tape gives Reed claim to first"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20080213134838/http://www.oregonlive.com/news/oregonian/index.ssf?/base/news/120279750587750.xml&coll=7">Archived</a> 2008-02-13 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a>, The Oregonian, 2008-02-12 </li> <li id="cite_note-29"><a href="#cite_ref-29">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMiles2019" class="citation web cs1">Miles, Barry (March 18, 2019). <a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/articles/149462/the-beat-goes-on">"The Beat Goes On A century of Lawrence Ferlinghetti"</a>. Poetry Foundation. Retrieved December 2, 2019.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Poetry+Foundation&rft.atitle=The+Beat+Goes+On+A+century+of+Lawrence+Ferlinghetti.&rft.date=2019-03-18&rft.aulast=Miles&rft.aufirst=Barry&rft_id=https%3A%2F%2Fwww.poetryfoundation.org%2Farticles%2F149462%2Fthe-beat-goes-on&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-30"><a href="#cite_ref-30">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCollinsSkover2019" class="citation book cs1"><a href="/wiki/Ronald_K._L._Collins" title="Ronald K. L. Collins">Collins, Ronald K. L.</a>; <a href="/wiki/David_Skover" title="David Skover">Skover, David</a> (2019). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=NEaEDwAAQBAJ&pg=PA185">The People v. Ferlinghetti: The Fight to Publish Allen Ginsberg's Howl</a>. Rowman & Littlefield. p. xi. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781538125908" title="Special:BookSources/9781538125908"><bdi>9781538125908</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+People+v.+Ferlinghetti%3A+The+Fight+to+Publish+Allen+Ginsberg%27s+Howl&rft.pages=xi&rft.pub=Rowman+%26+Littlefield&rft.date=2019&rft.isbn=9781538125908&rft.aulast=Collins&rft.aufirst=Ronald+K.+L.&rft.au=Skover%2C+David&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DNEaEDwAAQBAJ%26pg%3DPA185&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-31"><a href="#cite_ref-31">^</a> <a rel="nofollow" class="external text" href="http://www.slate.com/id/2268627/">How "Howl" Changed the World</a>, Allen Ginsberg's anguished protest broke all the rules—and encouraged a generation of artists to do the same. By <a href="/wiki/Fred_Kaplan_(journalist)" title="Fred Kaplan (journalist)">Fred Kaplan</a>, Slate, Sept. 24, 2010 </li> <li id="cite_note-32"><a href="#cite_ref-32">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFFerlinghetti1984" class="citation book cs1">Ferlinghetti, Lawrence (1984). <a rel="nofollow" class="external text" href="https://archive.org/details/onpoetryofalleng0000unse/page/42">"Horn on Howl"</a>. In Lewis Hyde (ed.). On the poetry of Allen Ginsberg. University of Michigan Press. pp. <a rel="nofollow" class="external text" href="https://archive.org/details/onpoetryofalleng0000unse/page/42">42–53</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-472-06353-7" title="Special:BookSources/0-472-06353-7"><bdi>0-472-06353-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Horn+on+Howl&rft.btitle=On+the+poetry+of+Allen+Ginsberg&rft.pages=42-53&rft.pub=University+of+Michigan+Press&rft.date=1984&rft.isbn=0-472-06353-7&rft.aulast=Ferlinghetti&rft.aufirst=Lawrence&rft_id=https%3A%2F%2Farchive.org%2Fdetails%2Fonpoetryofalleng0000unse%2Fpage%2F42&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-33"><a href="#cite_ref-33">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFScott2010" class="citation web cs1"><a href="/wiki/A._O._Scott" title="A. O. Scott">Scott, A. O.</a> (September 23, 2010). <a rel="nofollow" class="external text" href="https://www.nytimes.com/2010/09/24/movies/24howl.html?pagewanted=all">"Howl (2010)"</a>. <a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+New+York+Times&rft.atitle=Howl+%282010%29&rft.date=2010-09-23&rft.aulast=Scott&rft.aufirst=A.+O.&rft_id=https%3A%2F%2Fwww.nytimes.com%2F2010%2F09%2F24%2Fmovies%2F24howl.html%3Fpagewanted%3Dall&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-34"><a href="#cite_ref-34">^</a> Lounela, Pekka & Mäntylä, Jyrki: Huuto ja meteli, p. 16. [Howl and turmoil.] Hämeenlinna, Karisto. 1970. (In Finnish.) </li> <li id="cite_note-35"><a href="#cite_ref-35">^</a> Lounela & Mäntylä, p. 17. </li> <li id="cite_note-36"><a href="#cite_ref-36">^</a> Lounela & Mäntylä, p. 102. </li> <li id="cite_note-37"><a href="#cite_ref-37">^</a> Lounale & Mäntylä, pp. 39–41. </li> <li id="cite_note-38"><a href="#cite_ref-38">^</a> Lounela & Mäntylä, pp. 5, 78–79. </li> <li id="cite_note-Original124-39">^ <a href="#cite_ref-Original124_39-0">a</a> <a href="#cite_ref-Original124_39-1">b</a> Allen Ginsberg. "Howl: Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography". Ed. Barry Miles. Harper Perennial, 1995. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-06-092611-2" title="Special:BookSources/0-06-092611-2">0-06-092611-2</a>. p. 124. </li> <li id="cite_note-40"><a href="#cite_ref-40">^</a> Original Draft, pp. 125, 128 </li> <li id="cite_note-41"><a href="#cite_ref-41">^</a> Lewis Hyde. On the Poetry of Allen Ginsberg. University of Michigan Press, 1984 <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-472-06353-6" title="Special:BookSources/978-0-472-06353-6">978-0-472-06353-6</a>, p. 6. </li> <li id="cite_note-42"><a href="#cite_ref-42">^</a> <a rel="nofollow" class="external text" href="http://www.lib.unc.edu/rbc/beats/ginsberg.html">Lib.unc.edu</a> </li> <li id="cite_note-43"><a href="#cite_ref-43">^</a> Original Draft, p. 132 </li> <li id="cite_note-44"><a href="#cite_ref-44">^</a> Miles, p. 57 </li> <li id="cite_note-45"><a href="#cite_ref-45">^</a> Allen Ginsberg. The Book of Martyrdom and Artifice: First Journals and Poems 1937–1952. Ed. Juanita Lieberman-Plimpton and Bill Morgan. Da Capo Press, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-306-81462-5" title="Special:BookSources/0-306-81462-5">0-306-81462-5</a>. p. 58. </li> <li id="cite_note-46"><a href="#cite_ref-46">^</a> Miles, p. 1 </li> <li id="cite_note-47"><a href="#cite_ref-47">^</a> Original Draft, p. 125 </li> <li id="cite_note-48"><a href="#cite_ref-48">^</a> Raskin, p. 134 </li> <li id="cite_note-Original126-49">^ <a href="#cite_ref-Original126_49-0">a</a> <a href="#cite_ref-Original126_49-1">b</a> <a href="#cite_ref-Original126_49-2">c</a> Original Draft, p. 126 </li> <li id="cite_note-Original128-50">^ <a href="#cite_ref-Original128_50-0">a</a> <a href="#cite_ref-Original128_50-1">b</a> <a href="#cite_ref-Original128_50-2">c</a> <a href="#cite_ref-Original128_50-3">d</a> Original Draft, p. 128 </li> <li id="cite_note-Miles,_pg._189-51">^ <a href="#cite_ref-Miles,_pg._189_51-0">a</a> <a href="#cite_ref-Miles,_pg._189_51-1">b</a> <a href="#cite_ref-Miles,_pg._189_51-2">c</a> Miles, p. 189 </li> <li id="cite_note-52"><a href="#cite_ref-52">^</a> Bill Morgan. I Celebrate Myself: The Somewhat Private Life of Allen Ginsberg. Penguin, 2006. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-14-311249-5" title="Special:BookSources/978-0-14-311249-5">978-0-14-311249-5</a>, p. 128. </li> <li id="cite_note-53"><a href="#cite_ref-53">^</a> Original Draft, p. 126–127 </li> <li id="cite_note-Miles,_pg._186-54">^ <a href="#cite_ref-Miles,_pg._186_54-0">a</a> <a href="#cite_ref-Miles,_pg._186_54-1">b</a> <a href="#cite_ref-Miles,_pg._186_54-2">c</a> Miles, p. 186 </li> <li id="cite_note-Raskin,_pg._137-55">^ <a href="#cite_ref-Raskin,_pg._137_55-0">a</a> <a href="#cite_ref-Raskin,_pg._137_55-1">b</a> Raskin, p. 137 </li> <li id="cite_note-56"><a href="#cite_ref-56">^</a> Original Draft, p. 133 </li> <li id="cite_note-Original134-57">^ <a href="#cite_ref-Original134_57-0">a</a> <a href="#cite_ref-Original134_57-1">b</a> <a href="#cite_ref-Original134_57-2">c</a> <a href="#cite_ref-Original134_57-3">d</a> <a href="#cite_ref-Original134_57-4">e</a> Original Draft, p. 134 </li> <li id="cite_note-Howl_on_Trial,_pg._34-58">^ <a href="#cite_ref-Howl_on_Trial,_pg._34_58-0">a</a> <a href="#cite_ref-Howl_on_Trial,_pg._34_58-1">b</a> Howl on Trial, p. 34 </li> <li id="cite_note-59"><a href="#cite_ref-59">^</a> Miles, p. 97 </li> <li id="cite_note-60"><a href="#cite_ref-60">^</a> Journals Mid-Fifties, p. 5 </li> <li id="cite_note-61"><a href="#cite_ref-61">^</a> Raskin, p. 135 </li> <li id="cite_note-62"><a href="#cite_ref-62">^</a> Allen Hibbard. Conversations with William S. Burroughs. University Press of Mississippi, 2000. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-57806-183-0" title="Special:BookSources/1-57806-183-0">1-57806-183-0</a>. p. xix. </li> <li id="cite_note-63"><a href="#cite_ref-63">^</a> Allen Ginsberg. "America". Howl and Other Poems. City Lights Publishers, 2001. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-87286-017-5" title="Special:BookSources/0-87286-017-5">0-87286-017-5</a>. p. 38. </li> <li id="cite_note-64"><a href="#cite_ref-64">^</a> David Creighton. Ecstasy of the Beats: On the Road to Understanding. Dundurn, 2007. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/1-55002-734-4" title="Special:BookSources/1-55002-734-4">1-55002-734-4</a>. p. 229. </li> <li id="cite_note-Original130-65">^ <a href="#cite_ref-Original130_65-0">a</a> <a href="#cite_ref-Original130_65-1">b</a> <a href="#cite_ref-Original130_65-2">c</a> <a href="#cite_ref-Original130_65-3">d</a> Original Draft, p. 130 </li> <li id="cite_note-Theado53-66">^ <a href="#cite_ref-Theado53_66-0">a</a> <a href="#cite_ref-Theado53_66-1">b</a> Matt Theado. The Beats: A Literary Reference. Carroll & Graf, 2003. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7867-1099-3" title="Special:BookSources/0-7867-1099-3">0-7867-1099-3</a>. p. 53 </li> <li id="cite_note-Original131-67">^ <a href="#cite_ref-Original131_67-0">a</a> <a href="#cite_ref-Original131_67-1">b</a> Original Draft, p. 131 </li> <li id="cite_note-68"><a href="#cite_ref-68">^</a> Miles, pp. 117, 187 </li> <li id="cite_note-69"><a href="#cite_ref-69">^</a> Morgan, p. 118 </li> <li id="cite_note-70"><a href="#cite_ref-70">^</a> Morgan, p. 13 </li> <li id="cite_note-71"><a href="#cite_ref-71">^</a> Original Draft, pp. 130–131 </li> <li id="cite_note-72"><a href="#cite_ref-72">^</a> Miles, p. 187 </li> <li id="cite_note-73"><a href="#cite_ref-73">^</a> Allen Ginsberg. "A Letter to Eberhart". Beat Down to Your Soul. Ed. Ann Charters. Penguin, 2001.<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-14-100151-8" title="Special:BookSources/0-14-100151-8">0-14-100151-8</a>, p. 121. </li> <li id="cite_note-74"><a href="#cite_ref-74">^</a> Hyde, p. 2 </li> <li id="cite_note-75"><a href="#cite_ref-75">^</a> Original Draft, p. 136 </li> <li id="cite_note-76"><a href="#cite_ref-76">^</a> Allen Ginsberg. Spontaneous Mind: Selected Interviews 1958–1996. Ed. David Carter. Perennial, 2001, p. 291 </li> <li id="cite_note-Original139-77">^ <a href="#cite_ref-Original139_77-0">a</a> <a href="#cite_ref-Original139_77-1">b</a> Original Draft, p. 139 </li> <li id="cite_note-78"><a href="#cite_ref-78">^</a> Original Draft, pp. 139, 146 </li> <li id="cite_note-Original140-79">^ <a href="#cite_ref-Original140_79-0">a</a> <a href="#cite_ref-Original140_79-1">b</a> Original Draft, p. 140 </li> <li id="cite_note-80"><a href="#cite_ref-80">^</a> Morgan, p. 184 </li> <li id="cite_note-Original142-81">^ <a href="#cite_ref-Original142_81-0">a</a> <a href="#cite_ref-Original142_81-1">b</a> Original Draft, p. 142 </li> <li id="cite_note-82"><a href="#cite_ref-82">^</a> Original Draft, p. 143 </li> <li id="cite_note-83"><a href="#cite_ref-83">^</a> Theado, p. 242 </li> <li id="cite_note-Original144-84">^ <a href="#cite_ref-Original144_84-0">a</a> <a href="#cite_ref-Original144_84-1">b</a> Original Draft, p. 144 </li> <li id="cite_note-Original145-85">^ <a href="#cite_ref-Original145_85-0">a</a> <a href="#cite_ref-Original145_85-1">b</a> <a href="#cite_ref-Original145_85-2">c</a> <a href="#cite_ref-Original145_85-3">d</a> Original Draft, p. 145 </li> <li id="cite_note-86"><a href="#cite_ref-86">^</a> Miles, p. 121 </li> <li id="cite_note-Original146-87">^ <a href="#cite_ref-Original146_87-0">a</a> <a href="#cite_ref-Original146_87-1">b</a> <a href="#cite_ref-Original146_87-2">c</a> Original Draft, p. 146 </li> <li id="cite_note-88"><a href="#cite_ref-88">^</a> Original Draft p. 155 </li> <li id="cite_note-89"><a href="#cite_ref-89">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/19990209123915/http://www.bostonphoenix.com/alt1/archive/news/97/07/17/">"Allen Ginsberg's 'Howl': a groundbreaking performance"</a>. <a href="/wiki/The_Phoenix_(newspaper)" title="The Phoenix (newspaper)">Boston Phoenix</a>. July 17, 1997. Archived from <a rel="nofollow" class="external text" href="http://www.bostonphoenix.com/alt1/archive/news/97/07/17/">the original</a> on February 9, 1999. Retrieved October 16, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Boston+Phoenix&rft.atitle=Allen+Ginsberg%27s+%27Howl%27%3A+a+groundbreaking+performance&rft.date=1997-07-17&rft_id=http%3A%2F%2Fwww.bostonphoenix.com%2Falt1%2Farchive%2Fnews%2F97%2F07%2F17%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-90"><a href="#cite_ref-90">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20121017120414/http://wfnx.com/ondemand">"WFNX On Demand: The Best of 1997"</a>. <a href="/wiki/WFNX_(101.7_FM)" class="mw-redirect" title="WFNX (101.7 FM)">WFNX</a>. Archived from <a rel="nofollow" class="external text" href="http://wfnx.com/ondemand">the original</a> on October 17, 2012. Retrieved October 16, 2012.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=WFNX&rft.atitle=WFNX+On+Demand%3A+The+Best+of+1997&rft_id=http%3A%2F%2Fwfnx.com%2Fondemand&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-91"><a href="#cite_ref-91">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFGarofoli2007" class="citation news cs1">Garofoli, Joe (October 3, 2007). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20091125071555/http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2007/10/03/MN0PSIM67.DTL">"'Howl' too hot to hear"</a>. <a href="/wiki/San_Francisco_Chronicle" title="San Francisco Chronicle">San Francisco Chronicle</a>. Archived from <a rel="nofollow" class="external text" href="http://www.sfgate.com/cgi-bin/article.cgi?file=/c/a/2007/10/03/MN0PSIM67.DTL">the original</a> on November 25, 2009. Retrieved January 22, 2010.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=San+Francisco+Chronicle&rft.atitle=%27Howl%27+too+hot+to+hear&rft.date=2007-10-03&rft.aulast=Garofoli&rft.aufirst=Joe&rft_id=http%3A%2F%2Fwww.sfgate.com%2Fcgi-bin%2Farticle.cgi%3Ffile%3D%2Fc%2Fa%2F2007%2F10%2F03%2FMN0PSIM67.DTL&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-92"><a href="#cite_ref-92">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFThomas_Rain_Crowe1997" class="citation book cs1">Thomas Rain Crowe (1997). <a rel="nofollow" class="external text" href="https://books.google.com/books?id=tykImG0WAsAC&pg=PA249">"Hydrogen Jukebox (1990)"</a>. In Kostelanetz, Richard; Flemming, Robert (eds.). Writings on Glass: Essays, Interviews, Criticism. University of California Press. pp. 249–250. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780520214910" title="Special:BookSources/9780520214910"><bdi>9780520214910</bdi></a>. Retrieved 23 October 2016.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Hydrogen+Jukebox+%281990%29&rft.btitle=Writings+on+Glass%3A+Essays%2C+Interviews%2C+Criticism&rft.pages=249-250&rft.pub=University+of+California+Press&rft.date=1997&rft.isbn=9780520214910&rft.au=Thomas+Rain+Crowe&rft_id=https%3A%2F%2Fbooks.google.com%2Fbooks%3Fid%3DtykImG0WAsAC%26pg%3DPA249&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-93"><a href="#cite_ref-93">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://philipglass.com/recordings/hydrogen_jukebox/">"Hydrogen Jukebox – Philip Glass"</a>. Retrieved 3 May 2024.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Hydrogen+Jukebox+%E2%80%93+Philip+Glass&rft_id=https%3A%2F%2Fphilipglass.com%2Frecordings%2Fhydrogen_jukebox%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> <li id="cite_note-94"><a href="#cite_ref-94">^</a> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20140429080111/http://www.tuftsdaily.com/arts/howl-filmmakers-talk-youth-culture-james-franco-1.2341729">"'Howl' filmmakers talk youth culture, James Franco"</a>. Archived from <a rel="nofollow" class="external text" href="http://www.tuftsdaily.com/arts/howl-filmmakers-talk-youth-culture-james-franco-1.2341729">the original</a> on 2014-04-29. Retrieved 2021-08-12.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=%27Howl%27+filmmakers+talk+youth+culture%2C+James+Franco&rft_id=http%3A%2F%2Fwww.tuftsdaily.com%2Farts%2Fhowl-filmmakers-talk-youth-culture-james-franco-1.2341729&rfr_id=info%3Asid%2Fen.wikipedia.org%3AHowl+%28poem%29" class="Z3988"> </li> </ol></div> <div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=22" title="Edit section: Further reading">edit</a>]</div> <ul><li>Collins, Ronald & Skover, David. Mania: The Story of the Outraged & Outrageous Lives that Launched a Cultural Revolution (Top-Five Books, March 2013)</li> <li>Charters, Ann (ed.). The Portable Beat Reader. Penguin Books. New York. 1992. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-670-83885-3" title="Special:BookSources/0-670-83885-3">0-670-83885-3</a> (hc); <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-14-015102-8" title="Special:BookSources/0-14-015102-8">0-14-015102-8</a> (pbk)</li> <li>Ginsberg, Allen. Howl. 1986 critical edition edited by Barry Miles, Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-06-092611-2" title="Special:BookSources/0-06-092611-2">0-06-092611-2</a> (pbk.)</li> <li>Howl of the Censor. <a href="/wiki/Jake_Ehrlich" title="Jake Ehrlich">Jake Ehrlich</a>, Editor. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-8371-8685-6" title="Special:BookSources/978-0-8371-8685-6">978-0-8371-8685-6</a></li> <li>Lounela, Pekka – Mäntylä, Jyrki: Huuto ja meteli. [Howl and turmoil.] Hämeenlinna, Karisto. 1970.</li> <li><a href="/wiki/Miles,_Barry" class="mw-redirect" title="Miles, Barry">Miles, Barry</a>. Ginsberg: A Biography. London: Virgin Publishing Ltd. (2001), paperback, 628 pages, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-7535-0486-3" title="Special:BookSources/0-7535-0486-3">0-7535-0486-3</a></li> <li><a href="/wiki/Jonah_Raskin" title="Jonah Raskin">Raskin, Jonah</a>. American Scream: Allen Ginsberg's "Howl" and the Making of the Beat Generation. Berkeley: University of California Press, 2004. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-24015-4" title="Special:BookSources/0-520-24015-4">0-520-24015-4</a></li></ul> <div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2>[<a href="/w/index.php?title=Howl_(poem)&action=edit&section=23" title="Edit section: External links">edit</a>]</div> <ul><li><a rel="nofollow" class="external text" href="http://www.allenginsberg.org/">Allen Ginsberg.org</a></li> <li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20091207012926/http://www.poetryarchive.org/poetryarchive/singlePoet.do?poetId=1547">The Poetry Archive: Allen Ginsberg</a></li> <li><a rel="nofollow" class="external text" href="http://www.poets.org/agins">Allen Ginsberg on Poets.org</a> With audio clips, poems, and related essays, from the Academy of American Poets</li> <li><a rel="nofollow" class="external text" href="https://www.poetryfoundation.org/poems/49303/howl">Full text of "Howl"</a> and <a rel="nofollow" class="external text" href="http://www.poetryfoundation.org/poem/240700">"Footnote to Howl"</a> at the Poetry Foundation</li> <li><a rel="nofollow" class="external text" href="http://www.openculture.com/2012/06/allen_ginsberg_reads_his_beat_classic_poem_howl.html">Allen Ginsberg reads Howl. 27 minutes of audio.</a></li> <li><a rel="nofollow" class="external text" href="https://archive.org/audio/audio-details-db.php?collection=naropa&collectionid=naropa_allen_ginsberg&from=BA">Naropa Audio Archives: Allen Ginsberg class (August 6, 1976)</a> Streaming audio and 64 kbit/s MP3 ZIP</li> <li><a rel="nofollow" class="external text" href="https://archive.org/audio/audio-details-db.php?collection=naropa&collectionid=naropa_anne_waldman_and_allen_ginsberg&from=mostViewed">Naropa Audio Archives: Anne Waldman and Allen Ginsberg reading, including Howl (August 9, 1975)</a> Streaming audio and 64 kbit/s MP3 ZIP</li> <li><a rel="nofollow" class="external text" href="http://www.allenginsbergdvd.com/">Allen Ginsberg Live in London – live film from October 19, 1995</a></li> <li><a rel="nofollow" class="external text" href="https://www.npr.org/templates/story/story.php?storyId=6393328">After 50 Years, Ginsberg's "Howl" Still Resonates</a></li> <li><a rel="nofollow" class="external text" href="http://www.reed.edu/news_center/multimedia/2007-08/index.html">Reading of Howl and other poems at Reed College, Portland, Oregon, February 1956</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20150906041304/http://www.reed.edu/news_center/multimedia/2007-08/index.html">Archived</a> 2015-09-06 at the <a href="/wiki/Wayback_Machine" title="Wayback Machine">Wayback Machine</a></li> <li><a rel="nofollow" class="external text" href="http://www.thenation.com/print/article/155073/howls-anger-and-liberation">Howls of Anger, and of Liberation</a> by <a href="/wiki/The_Nation" title="The Nation">The Nation</a></li> <li><a rel="nofollow" class="external text" href="https://purl.stanford.edu/cq952mh6350">"Howl for Carl Solomon", manuscript and typescript, with autograph corrections and annotations</a>, Stanford Digital Repository</li></ul> <div class="navbox-styles"><style data-mw-deduplicate="TemplateStyles:r1129693374">.mw-parser-output .hlist dl,.mw-parser-output .hlist ol,.mw-parser-output .hlist ul{margin:0;padding:0}.mw-parser-output .hlist dd,.mw-parser-output .hlist dt,.mw-parser-output .hlist li{margin:0;display:inline}.mw-parser-output .hlist.inline,.mw-parser-output .hlist.inline dl,.mw-parser-output .hlist.inline ol,.mw-parser-output .hlist.inline ul,.mw-parser-output .hlist dl dl,.mw-parser-output .hlist dl ol,.mw-parser-output .hlist dl ul,.mw-parser-output .hlist ol dl,.mw-parser-output .hlist ol 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.navbox{display:none!important}}</style></div><div role="navigation" class="navbox" aria-labelledby="Allen_Ginsberg" style="padding:3px"><table class="nowraplinks mw-collapsible expanded navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><style data-mw-deduplicate="TemplateStyles:r1239400231">.mw-parser-output .navbar{display:inline;font-size:88%;font-weight:normal}.mw-parser-output .navbar-collapse{float:left;text-align:left}.mw-parser-output .navbar-boxtext{word-spacing:0}.mw-parser-output .navbar ul{display:inline-block;white-space:nowrap;line-height:inherit}.mw-parser-output .navbar-brackets::before{margin-right:-0.125em;content:"[ "}.mw-parser-output .navbar-brackets::after{margin-left:-0.125em;content:" ]"}.mw-parser-output .navbar li{word-spacing:-0.125em}.mw-parser-output .navbar a>span,.mw-parser-output .navbar a>abbr{text-decoration:inherit}.mw-parser-output .navbar-mini abbr{font-variant:small-caps;border-bottom:none;text-decoration:none;cursor:inherit}.mw-parser-output .navbar-ct-full{font-size:114%;margin:0 7em}.mw-parser-output .navbar-ct-mini{font-size:114%;margin:0 4em}html.skin-theme-clientpref-night .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .navbar li a abbr{color:var(--color-base)!important}}@media print{.mw-parser-output .navbar{display:none!important}}</style><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Allen_Ginsberg" title="Template:Allen Ginsberg"><abbr title="View this template">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Allen_Ginsberg" title="Template talk:Allen Ginsberg"><abbr title="Discuss this template">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Allen_Ginsberg" title="Special:EditPage/Template:Allen Ginsberg"><abbr title="Edit this template">e</abbr></a></li></ul></div><div id="Allen_Ginsberg" style="font-size:114%;margin:0 4em"><a href="/wiki/Allen_Ginsberg" title="Allen Ginsberg">Allen Ginsberg</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Poetry collections</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Howl_and_Other_Poems" title="Howl and Other Poems">Howl and Other Poems</a> (1956)</li> <li><a href="/wiki/Kaddish_and_Other_Poems" title="Kaddish and Other Poems">Kaddish and Other Poems</a> (1961)</li> <li><a href="/wiki/Reality_Sandwiches" title="Reality Sandwiches">Reality Sandwiches</a> (1963)</li> <li><a href="/wiki/Planet_News" title="Planet News">Planet News</a> (1968)</li> <li><a href="/wiki/The_Fall_of_America:_Poems_of_These_States" title="The Fall of America: Poems of These States">The Fall of America: Poems of These States</a> (1973)</li> <li><a href="/wiki/Mind_Breaths" title="Mind Breaths">Mind Breaths</a> (1978)</li> <li><a href="/wiki/White_Shroud_Poems" title="White Shroud Poems">White Shroud Poems</a>: 1980–1985 (1986)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Poems</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li>"<a href="/wiki/Pull_My_Daisy_(poem)" title="Pull My Daisy (poem)">Pull My Daisy</a>" (late 1940s)</li> <li>"<a href="/wiki/A_Supermarket_in_California" title="A Supermarket in California">A Supermarket in California</a>" (1956)</li> <li>"<a href="/wiki/America_(poem)" title="America (poem)">America</a>" (1956)</li> <li>"<a class="mw-selflink selflink">Howl</a>" (1956)</li> <li>"<a href="/wiki/Ignu" title="Ignu">Ignu</a>" (1958)</li> <li>"<a href="/wiki/Kaddish_(poem)" title="Kaddish (poem)">Kaddish</a>" (1961)</li> <li>"<a href="/wiki/Wichita_Vortex_Sutra" title="Wichita Vortex Sutra">Wichita Vortex Sutra</a>" (1966)</li> <li>"<a href="/wiki/September_on_Jessore_Road" title="September on Jessore Road">September on Jessore Road</a>" (1971)</li> <li><a href="/wiki/Iron_Horse_(poem)" title="Iron Horse (poem)">Iron Horse</a> (1973)</li> <li>"<a href="/wiki/Hadda_Be_Playing_on_the_Jukebox" title="Hadda Be Playing on the Jukebox">Hadda Be Playing on the Jukebox</a>" (1975)</li> <li>"<a href="/wiki/Plutonian_Ode" title="Plutonian Ode">Plutonian Ode</a>" (1978)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other works</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/The_Yage_Letters" title="The Yage Letters">The Yage Letters</a> (1963, letters)</li> <li><a href="/wiki/Songs_of_Innocence_and_Experience_(Allen_Ginsberg_album)" title="Songs of Innocence and Experience (Allen Ginsberg album)">Songs of Innocence and Experience</a> (1970 album)</li> <li><a href="/wiki/Deliberate_Prose" title="Deliberate Prose">Deliberate Prose</a> 1952–1995 (2000, essays)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Films</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Pull_My_Daisy" title="Pull My Daisy">Pull My Daisy</a> (1959)</li> <li><a href="/wiki/Life_and_Times_of_Allen_Ginsberg" title="Life and Times of Allen Ginsberg">Life and Times of Allen Ginsberg</a> (1993)</li> <li><a href="/wiki/The_Source_(1999_film)" title="The Source (1999 film)">The Source</a> (1999)</li> <li><a href="/wiki/Beat_(2000_film)" title="Beat (2000 film)">Beat</a> (2000)</li> <li><a href="/wiki/Allen_Ginsberg_Live_in_London" title="Allen Ginsberg Live in London">Allen Ginsberg Live in London</a> (2005)</li> <li><a href="/wiki/Corso:_The_Last_Beat" title="Corso: The Last Beat">Corso: The Last Beat</a> (2007)</li> <li><a href="/wiki/I%27m_Not_There" title="I'm Not There">I'm Not There</a> (2007)</li> <li><a href="/wiki/Chicago_10_(film)" title="Chicago 10 (film)">Chicago 10</a> (2009)</li> <li><a href="/wiki/Chicago_Seven#Film" title="Chicago Seven">The Chicago 8</a> (2010)</li> <li><a href="/wiki/Howl_(2010_film)" title="Howl (2010 film)">Howl</a> (2010)</li> <li><a href="/wiki/Kill_Your_Darlings_(2013_film)" title="Kill Your Darlings (2013 film)"> Kill Your Darlings</a> (2013)</li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Six_Gallery_reading" title="Six Gallery reading">Six Gallery reading</a></li> <li><a href="/wiki/Hydrogen_Jukebox" title="Hydrogen Jukebox">Hydrogen Jukebox</a></li> <li><a href="/wiki/International_Poetry_Incarnation" title="International Poetry Incarnation">International Poetry Incarnation</a></li> <li><a href="/wiki/Beat_Generation" title="Beat Generation">Beat Generation</a> <ul><li><a href="/wiki/Beatnik" title="Beatnik">Beatnik</a></li></ul></li> <li><a href="/wiki/Beat_Hotel" title="Beat Hotel">Beat Hotel</a></li> <li><a href="/wiki/Central_Park_be-ins" title="Central Park be-ins">Central Park be-ins</a></li> <li><a href="/wiki/Counterculture_of_the_1960s" title="Counterculture of the 1960s">Counterculture of the 1960s</a></li> <li><a href="/wiki/Human_Be-In" title="Human Be-In">Human Be-In</a></li> <li><a href="/wiki/National_Mobilization_Committee_to_End_the_War_in_Vietnam" title="National Mobilization Committee to End the War in Vietnam">National Mobilization Committee to End the War in Vietnam</a></li> <li><a href="/wiki/Off_the_Road" title="Off the Road">Off the Road</a></li></ul> </div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">People</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"> <ul><li><a href="/wiki/Peter_Orlovsky" title="Peter Orlovsky">Peter Orlovsky</a> (partner)</li> <li><a href="/wiki/Louis_Ginsberg" title="Louis Ginsberg">Louis Ginsberg</a> (father)</li> <li><a href="/wiki/William_S._Burroughs" title="William S. Burroughs">William S. Burroughs</a></li> <li><a href="/wiki/Lucien_Carr" title="Lucien Carr">Lucien Carr</a></li> <li><a href="/wiki/Neal_Cassady" title="Neal Cassady">Neal Cassady</a></li> <li><a href="/wiki/Gregory_Corso" title="Gregory Corso">Gregory Corso</a></li> <li><a href="/wiki/Lawrence_Ferlinghetti" title="Lawrence Ferlinghetti">Lawrence Ferlinghetti</a></li> <li><a href="/wiki/Jack_Kerouac" title="Jack Kerouac">Jack Kerouac</a></li> <li><a href="/wiki/Gary_Snyder" title="Gary Snyder">Gary Snyder</a></li></ul> </div></td></tr></tbody></table></div> <div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236075235"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" 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