Allen Ginsberg and China: Min Yu
Allen Ginsberg and China: Min Yu
Theory and Practice in Language Studies, Vol. 2, No. 4, pp. 850-855, April 2012
© 2012 ACADEMY PUBLISHER Manufactured in Finland.
doi:10.4304/tpls.2.4.850-855
Abstract—After the Second World War, because of their dissatisfaction of the extreme materialism and
industrialization and the indifference of the government, some American poets of the Beat Generation turned
to the East, especially turning to China to learn the classical Chinese poetry and the philosophy of Lao Tzu
and Chuang Tzu implied in the poetry, which advocates the harmonious relationship of human beings and the
universe, and incorporated what they learned in their own poetry to stress humanity and harmony between
man and nature. Allen Ginsberg is one of the most revered Beat poets. He is quite familiar with Chinese
culture and has assimilated its essence into his own poems. Ginsberg not only uses the Chinese-style approach
of image juxtaposition but exaggerates it to the most so as to express his indignation to the dirty society to his
heart’s content. The power of meditation of Buddhism and Ch’an has also transformed Ginsberg’s poems
from the angry “Howl” to the calm and tolerant “Wichita Vortex Sutra”, and helped him reach the “beatific”
spiritual realm.
I. INTRODUCTION
Allen Ginsberg is one of the most respected and revered Beat writers. His works are definitely worth reading and
worth researching as well even if the writers of this period are of little interest to certain readers.
Ginsberg was born in 1926 in Newark, New Jersey and received his B.A. from Columbia University in 1948. His
father, Louis Ginsberg, was a socialist, but his mother, Naomi, belonged to the Communist Party. The long poem
―Kaddish‖ expresses Ginsberg’s deep affection to his mother and fury to the evil government which is responsible to
Naomi’s insaneness and death. Like Kenneth Rexroth and Gary Snyder, Ginsberg held a variety of odd jobs before
becoming an established writer. He worked on various cargo ships, a spot welder, a dishwasher and he also worked as a
night porter in Denver. He participated in numerous poetry readings, including the famous Six Gallery event that
occurred in San Francisco.
In addition to the almost epic poem ―Howl‖, Ginsberg has authored numerous books. Many of his writings were once
interpreted as controversial and even obscene. The reading of ―Howl‖ resulted in the arrest of Lawrence Ferlinghetti,
the owner of City Lights Books, on obscenity charges. The authorities were angered by Ginsberg's openness towards his
homosexuality as well as his graphic sexual language. Many of his other writings deal with subjects such as narcotics
and his own experiences with them. However, many other prominent writers, including Jack Keroauc, William Carlos
Williams, Kenneth Rexroth and Gary Snyder realized Ginsberg’s importance. Ginsberg was greatly influenced by
Kerouac and William Burroughs’s spontaneous and carefree style and often worked in a stream of consciousness
manner until he completed a work. Ginsberg was compared with the metaphysical poets, including William Blake,
Thoreau, Emerson and Whitman. In addition to the greatest influence of William Carlos Williams (who respects
Chinese culture too), Ginsberg’s poetics and poems were also influenced by classical Chinese poems and thoughts.
In the early period of Ginsberg’s writing, it was the desire to expand the mind and reach the spiritual that inspired
Ginsberg to experiment with substances such as marijuana and Benzedrine. He claimed that many of his writings,
including ―Howl‖ were written while he was under the influence of drugs. Latter, under the influence of Ezra Pound,
Kenneth Rexroth and Gary Snyder, he turned to the Eastern world, found his spiritual home in Buddhism, in Chinese
Ch’an and Chinese poetics. As to how great the influence is, his own words in the poem ―Improvisation in Beijing‖
written in China are most convincible:
I write poetry because Pound pointed young Western poets to look at Chinese writing word pictures.
…
I write poetry because young friend Gary Snyder sat to look at his thoughts as part of external phenomenal world just
like a 1984 conference table.
…
I write poetry because this morning I woke trembling with fear what could I say in China?
…
I write poetry because Chuang –tzu couldn’t tell whether he was butterfly or man, Lao-tzu said water flows downhill,
Confucius said honor elders, I wanted to honor Whitman.
…
I write poetry because the Tibetan Lama guru says, ―Things are symbols of themselves.‖ (Ginsberg, 2001, p.204-207)
of the influence of his father. But soon after his entrance in Columbia University, he changed to expose the reality and
his own thoughts and view on life and politics in his own way because he believes ―First thought, best thought.‖ ―In
Society‖ written in the spring of 1947 cries out his angry about the society when he first stepped into it:
More company came, including a
Fluffy female who looked like
A princess. She glared at me and
Said immediately: ―I don’t like you,‖
Turned her head away, and refused
To be introduced. I said, ―What!‖
In outrage. ―Why you shit-faced fool!‖
This got everybody’s attention.
―Why you narcissistic bitch! How
can you decide when you don’t even
know me,‖ I continued in a violent
and messianic voice, inspired at
last, dominating the whole room. (Ginsberg, 2001, p.4)
Many of Ginsberg’s poems contain a war theme. Subjects such as the Nazi gas chambers and Viet Nam are the topics
of many of his poems. In his ―Anti-Vietnam War Peace Mobilization‖ written on May 9, 1970, he also used the skill of
image juxtaposition and non-English style sentences to express his antipathy to the war and the government:
White sunshine on sweating skulls
Washington’s Monument pyramided high granite clouds
……
assembled before White House filled with mustached Germans
& police buttons, army telephones, CIA Buzzers, FBI bugs
Secret Service walkie-talkies, Intercom squawkers to Narco
Fuzz & Florida Mafia Real Estate Speculators. (Ginsberg, 2001, p.131)
In both Western and Eastern literature history, many poets turn to religion to search for the rest home of spirital when
they get old. Ginsberg is no exception and became interested in Buddhism. Buddhism, the ancient and highly
philosophical Asian tradition, is the religion of the Beats. It began to influence the lives of the major New York Beat
writers in the mid-1950's, Kerouac and Ginsberg began their studies by reading books in libraries, but when they
migrated to California they began integrating the religion into their lives, inspired by Gary Snyder and Kenneth Rexroth.
In the early 1960s, he went to Eastern countries such as India to visit the famous Buddhist and learn Buddhism. In 1972,
he took Buddhism as his religion. When he visited China in 1984, he enjoyed reading the poems by Bai Juyi because he
found they had common sentiment in Ch’an Buddhism. Bai Juyi engaged himself with Ch’an and many of his poems
contain the spirit and thoughts of Ch’an. ―Reading wakas while free, facing incense while meditating. (闲吟四句偈,静
对一炉香)‖ is the self-portraiture of Bai Juyi’s own meditation of Ch’an. Ginsberg wrote a long poem named ―Reading
Bai Juyi‖ in China, which may show his respect to this great ancient Chinese poet. In the latter part this will be
discussed further.
Many of Ginsberg’s other poems in the late period take as their subject Buddhist Meditation and ideas. ―Wichita
Vortex Sutra‖ is a meditation on evil of war in America. Instead of cursing the war and the government, Ginsberg calls
for love, calls for the beautiful things. But the war destroys them, so people like Ginsberg thinks in tears about how to
speak the right language on the frosty broad road in the time of the war and to stop the evil of the war. The poem goes
like this:
……
we call Love, want and lack--
fear that we aren't the one whose body could be
beloved of all the brides of Kansas City,
kissed all over by every boy of Wichita--
O but how many in their solitude weep aloud like me--
On the bridge over the Republican River
almost in tears to know
how to speak the right language--
on the frosty broad road
uphill between highway embankments
I search for the language
that is also yours--
almost all our language has been taxed by war. (Ginsberg, 2004)
Instead of angry howl, Ginsberg shows his meditation in the poem. His sectary Bob Rosenthal said, while America
fell into chaos and outrage due to the Viet Nam war, Ginsberg’s poems became meditated and gentle in contrast and
became a method of controlling anger and enhancing the understanding of mind and spirit. Ginsberg also expresses his
rage in ―Wichita Vortex Sutra‖, but unlike in ―Howl‖, he hides the rage behind the calm and rational meditation.
V. CONCLUSION
The definition of the Beat Generation in Reader’s Digest Illustrated Encyclopedic Dictionary (1987) offers a
powerful support to the theme of this paper: ―In the 1950’s, a group of young Americans, including Jack Kerouac, Allen
Ginsberg, and William Burroughs, who expressed disillusionment with Western values and turned for inspiration to
Eastern religion, trying experimental literary forms and adopting a bohemian lifestyle‖ (p.158).
Allen Ginsberg, as well as other poets and writers of the Beat Generation, have found their last home for their
anchorless heart in the classical Chinese poems and the Chinese thoughts and philosophy. And through their poems the
essence of Chinese culture is also accepted and understood by many other Western people and influences their thoughts
and life as well.
REFERENCES
[1] Allen, Donald M. (ed.) (1960). The New American Poetry. New York: Grove Press.
[2] Foster, Edward H. (1992). Understanding the Beats. Columbia: University of South Carolina Press.
[3] Ginsberg, Allen. ―Wichita Vortex Sutra‖. On-line, Available from
http://english.buffalo.edu/faculty/conte/syllabi/377/Allen_Ginsberg.html (accessed 25/11/2004).
[4] Ginsberg, Allen. (2001). Howl—Allen Ginsberg: Selected Poems (1947-1997). Trans. Wen Chu’an. Chengdu: Sichuan
Literature & Art Press.
[5] Hamalian, Linda. (1991). A Life of Kenneth Rexroth. New York: W.W. Norton & Company.
[6] Hassan, Ihab. (1973). Contemporary American Literature: 1945~1972. New York: Frederick Ungar Publishing Co..
[7] Lodge, David. (1972). 20th Century Literary Criticism. New York: Longman House.
[8] Rodman, Selden. (1946). A New Anthology of Modern Poetry. New York: The Modern Library.
[9] Paul Portuges, ―Allen Ginsberg’s Paul Cezanne and the Pater Omnipotens Aeterna Deus,‖ Comtemporary Literature 21
(Summer 1980), 448, cited Edward H. Foster, Understanding the Beats, 105.
[10] Waley, Arthur, trans. (1998). Tao Te Ching, by Lao Tuz. Peking: Foreign Language Education & Research Press.
Min Yu was born in Shuyang City, Jiangsu Province on February 12, 1978. She got the MA of Arts at Southeast University in
Nanjing, China in 2005. She is a faculty member of Foreign Language Department in Huaiyin Institute of Technology, China. Her
research interests include American Literature and the comparative literature between China and America.