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Allen Ginsberg - On Composition, Rhythm, and Articulation lyrics

Interviewer: Has there been a time when fear of censorship or similar trouble has made your own expression difficult?

GINSBERG: This is so complicated a matter. The beginning of the fear with me was, you know, what would my father say to something that I would write. At the time, writing “Howl”—for instance like I a**umed when writing it that it was something that could not be published because I wouldn't want my daddy to see what was in there. About my s** life, being f**ed in the a**, imagine your father reading a thing like that, was what I thought. Though that disappeared as soon as the thing was real, or as soon as I manifested my ... you know, it didn't make that much importance finally. That was sort of a help for writing, because I a**umed that it wouldn't be published, therefore I could say anything that I wanted. So literally just for myself or anybody that I knew personally well, writers who would be willing to appreciate it with a breadth of tolerance—in a piece of work like Howl. Who wouldn't be judging from a moralistic viewpoint but looking for evidences of humanity or secret thought or just actual truthfulness.
Then there's later the problem of publication—we had a lot. The English printer refused at first I think, we were afraid of customs; the first edition we had to print with asterisks on some of the dirty words, and then the Evergreen Review in reprinting it used asterisks, and various people reprinting it later always wanted to use the Evergreen version rather than the corrected legal City Lights version—like I think there's an anthology of Jewish writers, I forgot who edited that, but a couple of the high-cla** intellectuals from Columbia. I had written asking them specifically to use the later City Lights version, but they went ahead and printed an asterisked version. I forget what was the name of that—something like New Generation of Jewish Writing, Philip Roth, etc.

INTERVIEWER: Do you take difficulties like these as social problems, problems of communication simply, or do you feel they also block your own ability to express yourself for yourself?

GINSBERG: The problem is, where it gets to literature, is this. We all talk among ourselves and we have common understandings, and we say anything we want to say, and we talk about our a**holes, and we talk about our cocks, and we talk about who we f**ed last night, or who we're gonna f** tomorrow, or what kinda love affair we have, or when we got drunk, or when we stuck a broom in our a** in the Hotel Amba**ador in Prague—anybody tells one's friends about that. So then—what happens if you make a distinction between what you tell your friends and what you tell your Muse? The problem is to break down that distinction: When you approach the Muse to talk as frankly as you would talk with yourself or with your friends. So I began finding, in conversations with Burroughs and Kerouac and Gregory Corso, in conversations with people whom I knew well, whose souls I respected, that the things we were telling each other for real were totally different from what was already in literature. And that was Kerouac's great discovery in On the Road. The kinds of things that he and Neal Ca**ady were talking about, he finally discovered were the subject matter for what he wanted to write down. That meant, at that minute, a complete revision of what literature was supposed to be, in his mind, and actually in the minds of the people that first read the book. Certainly in the minds of the critics, who had at first attacked it as not being ... proper structure, or something. In other words, a gang of friends running around in an automobile. Which obviously is like a great picaresque literary device, and a cla**ical one. And was not recognized, at the time, as suitable literary subject matter.

INTERVIEWER: So it's not just a matter of themes—s**, or any other one ...

GINSBERG: It's the ability to commit to writing, to write, the same way that you ... are! Anyway! You have many writers who have preconceived ideas about what literature is supposed to be, and their ideas seem to exclude that which makes them most charming in private conversation. Their faggishness, or their campiness, or their neurasthenia, or their solitude, or their goofiness, or their—even—masculinity, at times. Because they think that they're gonna write something that sounds like something else that they've read before, instead of sounds like them. Or comes from their own life. In other words, there's no distinction, there should be no distinction between what we write down, and what we really know, to begin with. As we know it every day, with each other. And the hypocrisy of literature has been ... you know like there's supposed to be formal literature, which is supposed to be different from—in subject, in diction and even in organization, from our quotidian inspired lives.

It's also like in Whitman, “I find no fat sweeter than that which sticks to my own bones,” that is to say the self-confidence of someone who knows that he's really alive, and that his existence is just as good as any other subject matter.
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INTERVIEWER: Is physiology a part of this too—like the difference between your long breath line, and William Carlos Williams's shorter unit?

GINSBERG: Analytically, ex post facto, it all begins with f**ing around and intuition and without any idea of what you're doing, I think. Later, I have a tendency to explain it, “Well, I got a longer breath than Williams, or I'm Jewish, or I study yoga, or I sing long lines ...” But anyway, what it boils down to is this, it's my movement, my feeling is for a big long clanky statement—partly that's something that I share, or maybe that I even got from Kerouac's long prose line; which is really, like he once remarked, an extended poem. Like one long sentence page of his in Doctor Sax or The Railroad Earth or occasionally On the Road—if you examine them phrase by phrase they usually have the density of poetry, and the beauty of poetry, but most of all the single elastic rhythm running from beginning to end of the line and ending “mop”!

INTERVIEWER: Have you ever wanted to extend this rhythmic feeling as far as say Artaud or now Michael McClure have taken it—to a line that is actually animal noise?

GINSBERG: The rhythm of the long line is also an animal cry.

INTERVIEWER: So you're following that feeling and not a thought or a visual image?

GINSBERG: It's simultaneous. The poetry generally is like a rhythmic articulation of feeling. The feeling is like an impulse that rises within—just like s**ual impulses, say; it's almost as definite as that. It's a feeling that begins somewhere in the pit of the stomach and rises up forward in the breast and then comes out through the mouth and ears, and comes forth a croon or a groan or a sigh. Which, if you put words to it by looking around and seeing and trying to describe what's making you sigh—and sigh in words—you simply articulate what you're feeling. As simple as that. Or actually what happens is, at best what happens, is there's a definite body rhythm that has no definite words, or may have one or two words attached to it, one or two key words attached to it. And then, in writing it down, it's simply by a process of a**ociation that I find what the rest of the statement is—what can be collected around that word, what that word is connected to. Partly by simple a**ociation, the first thing that comes to my mind like “Moloch is” or “Moloch who,” and then whatever comes out. But that also goes along with a definite rhythmic impulse, like DA de de DA de de DA de de DA DA. “Moloch whose eyes are a thousand blind windows.” And before I wrote “Moloch whose eyes are a thousand blind windows,” I had the word, “Moloch, Moloch, Moloch,” and I also had the feeling DA de de DA de de DA de de DADA. So it was just a question of looking up and seeing a lot of windows, and saying, oh, windows, of course, but what kind of windows? But not even that—”Moloch whose eyes.” “Moloch whose eyes”—which is beautiful in itself—but what about it, Moloch whose eyes are what? So Moloch whose eyes—then probably the next thing I thought was “thousands.” OK, and then thousands what? “Thousands blind.” And I had to finish it somehow. So I hadda say “windows.” It looked good afterward.

Usually during the composition, step by step, word by word and adjective by adjective, if it's at all spontaneous, I don't know whether it even makes sense sometimes. Sometimes I do know it makes complete sense, and I start crying. Because I realize I'm hitting some area which is absolutely true. And in that sense applicable universally, or understandable universally. In that sense able to survive through time—in that sense to be read by somebody and wept to, maybe, centuries later. In that sense prophecy, because it touches a common key ... What prophecy actually is is not that you actually know that the bomb will fall in 1942. It's that you know and feel something that somebody knows and feels in a hundred years. And maybe articulate it in a hint—a concrete way that they can pick up on in a hundred years.

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