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Howl

"Howl" is a long, free-verse poem composed by American poet in 1955 and first published in 1956 as the opening work in the collection , issued by Books in . The poem's three parts chronicle the destruction of Ginsberg's generation by madness and conformity, invoking biblical and visionary imagery to decry the soul-crushing forces of postwar American capitalism, symbolized as "," while celebrating the ecstatic visions and nonconformist lives of figures like junkies, madmen, and homosexuals. Its public debut reading on October 7, 1955, at the Six Gallery in galvanized the nascent movement, positioning "Howl" as a foundational text of literature that rejected mainstream values in favor of spiritual questing, sexual liberation, and . The poem's explicit references to drugs, sex, and rebellion sparked immediate controversy, culminating in the 1957 arrest of publisher on obscenity charges after U.S. Customs seized imported copies; following a , Judge Clayton Horn ruled it non-obscene, citing its "redeeming social importance" under the prevailing legal standard from , a decision that advanced First Amendment protections for literary expression. This landmark victory propelled Ginsberg to international prominence and emboldened the countercultural ethos of the , influencing subsequent waves of dissent against institutional conformity. Despite criticisms of its raw, unpolished style and occasional indulgence in excess, "Howl" endures as a prophetic of modernity's dehumanizing machinery, embodying the Beats' commitment to authentic, unfiltered perception over sanitized norms.

Allen Ginsberg's "Howl"

Overview and content

"Howl", subtitled "for ", is a long poem by divided into three principal parts followed by a footnote. Part I enumerates the experiences of the "best minds" of Ginsberg's generation, portrayed as visionary individuals marginalized and shattered by insanity, urban poverty, drug use, and institutionalization amid post-World War II American society. This section employs repetitive phrasing beginning with "who" to catalog hallucinatory visions, sexual explorations, and encounters with authority, evoking the chaotic vitality of countercultural life in cities like and . Part II shifts to a prophetic against "", depicted as a devouring idol representing the dehumanizing machinery of industrial , military , and conformist materialism that consumes individuality and spirituality. Ginsberg personifies through imagery of "cement and aluminum" structures, atomic wars, and endless commodities, railing against its role in suppressing human potential. Part III adopts a more intimate, incantatory tone in direct address to , whom Ginsberg met in 1949 at the Columbia Psychiatric Institute, affirming solidarity amid psychiatric confinement and shared visions of transcendence. The poem's form features extended, breathless lines modeled on Walt Whitman's , fostering a propulsive rhythm that mimics spoken-word performance and , with anaphoric repetitions and vivid, unfiltered depictions of , narcotics, and societal decay. First published in the collection by Books in 1956, the work is dedicated to and marks Ginsberg's emergence as a central voice.

Composition and influences

Ginsberg composed the initial draft of "Howl" in 1955 while living in San Francisco, employing a spontaneous prose technique modeled after Jack Kerouac's method, with Kerouac's "Essentials of Spontaneous Prose" affixed to his wall as a guide. The poem drew from his personal turmoil, including prior psychological breakdowns and hallucinatory experiences induced by peyote, such as a vision of the Sir Francis Drake Hotel manifesting as an impassive, Moloch-like entity. These elements informed the work's raw, visionary intensity, reflecting Ginsberg's encounters with mental fragility during his earlier institutionalization. Key literary precursors shaped the poem's form and voice. Ginsberg cited Walt Whitman's expansive, democratic catalogs as a foundational influence on his long-line structure and inclusive enumerations. He also drew from William Blake's prophetic timbre, stemming from auditory hallucinations of Blake reciting poems that Ginsberg reported experiencing in the summer of 1948. Contemporaries like Kerouac and William S. Burroughs provided immediate stylistic reinforcement, with Ginsberg sharing early drafts for feedback—Kerouac advising against revisions to preserve the unfiltered flow. The dedication to Carl Solomon originated from their meeting in 1949 at the New York State Psychiatric Institute, where both were patients amid Ginsberg's own eight-month commitment following personal crises. Ginsberg prepared for the poem's debut by immersing himself in Kerouac's prose rhythms via taped recordings. On , 1955, he delivered the first public reading of "Howl" at the Six Gallery in , organized as part of a poetry event emceed by and attended by Kerouac, who cheered vociferously. This performance, closing the evening's lineup, catalyzed the visibility of the writers, galvanizing an audience response that underscored the poem's emergent cultural rupture.

Publication and obscenity trial

"Howl and Other Poems," containing the poem "Howl," was published in the fall of 1956 as part of Books' Pocket Poets series (Number 4), edited and published by in . Initial sales were limited, with the first printing of 1,000 copies selling slowly until external events drew attention. On March 25, 1957, U.S. Customs Service officials in seized 520 copies of the book imported from a printer, citing under Section 305 of the Tariff Act of 1930, which prohibited the importation of obscene materials. This federal action prompted local scrutiny, leading to the arrest of Ferlinghetti and manager Shigeyoshi Murao on March 26, 1957, by police on state charges of disseminating obscene literature under Section 311. The trial, People of the State of v. Lawrence , commenced on August 16, 1957, in Municipal Court before Clayton W. Horn. The prosecution, led by Deputy District Attorney Ralph McIntosh, contended that the poem's explicit references to , drugs, and rendered it obscene, lacking any redeeming value and appealing primarily to prurient interest. The defense, represented by Ehrlich and the ACLU, argued that "Howl" possessed serious literary, artistic, and social merit, serving as a of post-World War II American society without intent to corrupt morals; nine literary experts, including professors and authors, testified to its non-obscene nature and cultural significance. On October 3, 1957, Judge Horn ruled in a written opinion that "Howl" was not obscene under law, applying a test requiring material to be utterly without redeeming social importance to qualify as obscene—a standard that anticipated the U.S. Supreme Court's decision in later that month. Horn emphasized the poem's artistic value, stating it addressed "the problems of a generation" through prophetic utterance rather than mere filth, and dismissed charges against Murao due to lack of knowledge of contents. Ferlinghetti's acquittal ended the local prosecution, while the Customs Service released the seized copies following the ruling. The trial's publicity propelled sales, with subsequent printings selling tens of thousands of copies and establishing "Howl" as a in literary .

Themes and analysis

The poem articulates a critique of conformist as systematically destroying individuals, framing their "" not as but as a causal reaction to institutionalized suppression of and . The opening catalogs "the best minds of destroyed by , starving hysterical naked," depicting these figures—often , artistic, or spiritually questing—as pursuing "ancient heavenly connections" through visions, jazz, and ecstatic sexuality, only to face negation by materialist norms that demand uniformity over individual expression. This destruction manifests empirically in references to real mechanisms of , such as electroshock therapies and lobotomies administered under psychiatric auspices, which the text links to broader societal forces eroding personal agency. Central to this analysis is the figure of in Part II, symbolizing the devouring apparatus of industrial and technological rationalism, described as "Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies!" and ultimately "Moloch whose soul is electricity and banks." Evoking the ancient deity linked to ritual , Moloch causally embodies how economic and bureaucratic systems consume human vitality, reducing people to cogs in a profit-driven machine that stifles nonconformity and fosters alienation in urban wastelands. Institutional extends this oppression, portrayed as a pseudoscientific arm of conformity that pathologizes rebellion, as in the dedication to "who ate fire in paint hotels" yet endured "the total animal" of institutional restraint. The poem reasons from first principles that such structures arise from prioritizing aggregate material production over individual fulfillment, leading to a causal chain where suppressed visions erupt as anguished howls. Structurally, the poem's long, propulsive lines and anaphoric repetitions—such as the incantatory "who" clauses in Part I enumerating acts of defiance, or the hammering "Moloch" refrain in Part II—build a prophetic rhythm that mirrors the overwhelming force of the critiqued systems while asserting the poet's visionary endurance. This form causally links personal and collective torment to systemic failures, evident in allusions to empirical atrocities like "the Nazi gas-chambers" and "the hydrogen jukebox," which ground abstract alienation in concrete threats of ideological and technological annihilation. Part III counters with redemptive affirmations of the profane as sacred—"Holy the solitudes of skyscrapers... Holy the cocks of the grandfathers of Kansas"—elevating homosexuality, drug-induced ecstasies, and urban decay as rebellious assertions of authenticity against a reality that demonizes transcendent pursuits. The footnote reinforces Moloch's inescapability in modern life, yet the poem's ultimate reasoning posits that unfiltered pursuit of "angelic" insights, though clashing with material constraints, exposes the causal falsity of enforced normalcy.

Reception and cultural impact

Upon its initial readings and publication, "Howl" garnered enthusiastic praise from fellow writers for its raw, prophetic energy and departure from conventional poetic restraint. , who attended the poem's debut public performance at the Six Gallery in on October 7, 1955, reportedly cheered and urged Ginsberg to continue, later describing the work as a transformative outburst akin to spontaneous . The collection achieved commercial success, with over 1 million copies in print by the late , reflecting sustained demand driven by its resonance with dissenting youth. The poem exerted measurable influence on counterculture, serving as a literary precursor to movements, including protests where Ginsberg himself advocated nonviolent "flower power" tactics inspired by its rebellious spirit. It contributed to broader shifts in publishing norms by bolstering precedents for artistic expression over restrictions, as evidenced in subsequent legal affirmations of literary merit in profane works. In literary , "Howl" is frequently cited for innovating aesthetics through long-line verse and confessional intensity, shaping analyses of mid-century American dissent and influencing genres like rock lyrics—, for instance, acknowledged Ginsberg's impact on his surrealistic phrasing in songs such as "," which he dedicated to the poet. Adaptations have extended its reach, including musical compositions like Lee Hyla's orchestral setting premiered in 1997, which integrates the text with chamber instrumentation to evoke its rhythmic fury, and various theater stagings, such as the 2019 Casper adaptation emphasizing spoken-word . Performance traditions persist, notably poet Alex Caldiero's ritualistic recitations of the full poem every five years since 1995, culminating in a 2025 multimedia event at the Utah Museum of featuring live music and visual homage. These renderings underscore "Howl"'s enduring performative vitality, with Caldiero's cycles drawing crowds to experience its incantatory power as a communal .

Criticisms and counterperspectives

Critics, particularly from conservative perspectives in the , condemned "Howl" for its perceived of self-destructive behaviors, viewing it as a manifestation of juvenile that undermined traditional and social order. , in his 1958 essay "The Know-Nothing Bohemians," lambasted Ginsberg and the poets for romanticizing , drug-induced visions, and as superior to disciplined, productive life, arguing that their pity for the "insane" and marginalized reflected a know-nothing rejection of rationality and achievement rather than genuine insight. This critique framed the poem's explicit depictions of , , and not as prophetic critique but as an endorsement of , with Podhoretz later emphasizing Ginsberg's long-term of such "" as of ideological opposition to normative . Objections extended to the poem's portrayal of "madness" and among its "best minds," which some linked empirically to the documented toll of Beat lifestyles, including widespread and premature deaths. For instance, , a central figure in Ginsberg's circle, succumbed to internal hemorrhaging exacerbated by chronic at age 47 in 1969, while , referenced implicitly in the poem's frantic energy, died at 41 in 1968 from a combination of exposure and possible drug influence following a freight-train misadventure. Critics argued that "Howl"'s elevation of these elements as holy or visionary ignored causal harms, such as addiction's role in eroding personal agency and contributing to the Beats' high rates of institutionalization and early mortality, contrasting sharply with the poem's redemptive . Ideologically, the poem's anti-capitalist imagery—personified in the devouring "" of industrial America—drew fire for idealizing poverty and hedonism over economic productivity, a stance Podhoretz and others saw as naively subversive of the prosperity that conformity had fostered. Detractors contended that by decrying while celebrating and excess, "Howl" promoted a causal chain toward social fragmentation, evidenced by post-1960s surges in family dissolution and mental health disorders correlating with countercultural embrace of such freedoms; U.S. divorce rates, for example, doubled from 2.2 per 1,000 in 1960 to 5.2 by 1980, alongside rising reported psychiatric admissions amid drug experimentation. The explicit advocacy of and unrestrained sexuality was similarly critiqued as eroding stable institutions, with conservative voices attributing subsequent societal strains, including elevated burdens in non-traditional structures, to the normalization of hedonistic pursuits over familial restraint. In modern literary assessments, some counterperspectives dismiss "Howl" as overrated bombast, lacking the philosophical depth and formal innovation of influences like Walt Whitman, whose optimistic embrace of American vitality in "Song of Myself" contrasts with Ginsberg's descent into lamentation over perceived cultural fall. Whereas Whitman's work integrated expansive individualism with national affirmation, "Howl" is faulted for devolving into unstructured rant against modernity without equivalent rigor or redemptive vision, rendering it more a period artifact of rebellion than enduring poetry. This view posits that its cultural elevation owes more to shock value and alignment with 1960s unrest than intrinsic merit, complicating Ginsberg's anti-establishment persona given his later unsubstantiated accusations against the CIA for drug trafficking, which echoed rather than exposed institutional malfeasance.

Film

Howl (2010 biographical drama)

Howl is a 2010 American biographical drama film directed by and Jeffrey Friedman. It stars as , with portraying the prosecutor Ralph McIntosh in reenactments of the 1957 obscenity trial, alongside supporting roles by as Jake Ehrlich, the defense attorney, and as the publisher . The film premiered at the on January 21, 2010, and received a in the United States on September 24, 2010. The narrative interweaves three threads: black-and-white reenactments of the federal trial against Books for publishing Ginsberg's poem; a stylized animated visualization of the poem's recitation; and color footage of a fictionalized 1957 with Ginsberg reflecting on the case. The trial sequences draw directly from court transcripts, with approximately 95% of the dialogue sourced from actual records and contemporary interviews, ensuring fidelity to historical events surrounding the charges of under the Comstock . This structure emphasizes the legal defense's arguments on literary merit and lack of prurient intent, culminating in Judge Clayton Horn's ruling that the poem possessed redeeming social importance. Produced on a budget of $5 million, the film grossed $617,334 domestically and $1.6 million worldwide. Critical reception was mixed, with a % approval on based on 107 reviews, praising Franco's nuanced performance capturing Ginsberg's vulnerability and intensity while critiquing the animated segments as occasionally overwrought and disconnected from the trial's gravity. Reviewers noted the film's restraint in dramatizing the trial's cultural stakes without , though some found the hybrid format uneven in sustaining dramatic tension.

Music

Albums and EPs

Howl is the third studio by American rock band , released on August 23, 2005, by in the United States. The record marked a significant from the band's prior high-energy style, incorporating acoustic instrumentation, , and elements for a raw, roots-oriented aesthetic. Howl is the debut EP by American band Howl from , initially self-released in 2008 and reissued on July 21, 2009, by . It comprises three extended tracks emphasizing thunderous riffs, groove-heavy structures, and sludge influences characteristic of the genre. Howl is the third studio album by British electronic artist (Ryan Lee West), released on October 16, 2015, via . The LP delves into atmospheric synth-driven soundscapes, merging experimental , techno pulses, and emotive improvisations to evoke dissonance and introspection.

Songs

"Howl" by + the Machine, released on July 3, 2009, as a track from the band's debut album Lungs, is an song featuring Florence Welch's soaring vocals over sparse instrumentation building to a climactic howl, exploring themes of primal attraction and emotional surrender. "Howl" by , the second track and namesake of the American rock band's third studio album released on August 22, 2005, in the UK, embodies a raw, blues-inflected style with brooding lyrics on longing and . The Gaslight Anthem's "Howl," from their 2012 album Handwritten, is a punk-influenced rock anthem urging awakening from complacency, with driving guitars and anthemic choruses that propelled it to live performance staples, including integrations with sports events like games. "Howl" by Beware of Darkness, issued as the band's debut on May 7, 2013, following its appearance on their 2012 EP of the same name, delivers energy with gritty riffs and themes of inner turmoil. Biffy Clyro's "Howl," released in 2016 from the album , blends with the Scottish band's signature dynamic shifts, from introspective verses to explosive refrains, serving as a promotional with an accompanying . In the Vocaloid genre, "howl" by producer hagayui, featuring (with Kagamine Rin), premiered on on August 24, 2018, as an original electronic composition lasting 4:25, utilizing synthesized vocals for a haunting, atmospheric effect.

Bands and artists

Howl is an American stoner/sludge metal band formed in 2007 in . The group draws on themes of hate and in its music. It remains active as of 2025. Howl is a band originating from . The band released its debut album Higher Class of Lush in 2008, followed by Cold Water Music in 2010. After a long hiatus from live performances, Howl announced a return show on November 15, 2025, at in .

Other uses

Animal vocalization

A howl constitutes a prolonged, undulating generated by the vibration of the in various mammals, predominantly canines such as wolves (Canis lupus), coyotes (Canis latrans), and domestic dogs (Canis familiaris). Acoustically, it features a typically spanning 150 to 780 Hz, often accompanied by up to 12 overtones, enabling propagation over long distances in open terrains. This wavering quality arises from modulations in and , distinguishing howls from shorter barks or . In wild canines, howling primarily facilitates territorial advertisement, pack member localization, and group cohesion, allowing coordination for activities like or defense across kilometers. Empirical observations from packs indicate that an initiating howl often elicits contagious "" responses, amplifying signal strength and synchronizing behaviors to deter intruders or rally dispersed individuals. Such responses underscore howling's adaptive value in maintaining social bonds and resource defense in ancestral environments. Domestic dogs exhibit reduced howling frequency compared to wild relatives, attributable to selective breeding emphasizing barking for close-range alerting, though breeds genetically closer to wolves—such as Siberian huskies—retain stronger tendencies. While not exclusive to canines, similar sustained cries occur in non-canid species, including howler monkeys (Alouatta spp.), where they serve analogous roles in troop spacing and predator deterrence within forested habitats.

Miscellaneous references

The word "howl" derives from howlen or houlen, tracing back to *hūlian and Proto-Germanic *hūwilōną, with an imitative origin mimicking prolonged vocal sounds. In informal usage, "howl" denotes loud, uproarious , as in the "howl with ," distinct from its primary auditory . "Howl" titles a turn-based tactical by Austrian developer Mi'pu'mi Games, released in on February 2, 2023, via platforms including and , where players navigate a medieval plagued by a transformative "" rendered in hand-drawn ink art. Among software tools, Howl is a lightweight, customizable leveraging the runtime for efficient scripting and extensibility, available on since its inception as an open-source project. In 2025, the initiative HOWL.camera employed algorithms to reinterpret Allen Ginsberg's 1956 poem "Howl," producing dynamic visuals via image-to-ASCII transformations synced with the poet's audio recordings, deployed on the blockchain for interactive NFT experiences.

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