More Blogs From Previous Classes (6th set down). For starters, for Ginsberg, see Curro's, Capozzi's and Martinez's blogs and my comments on those blogs. If your are writing about Ginsberg, read all blogs on Ginsberg, and my comments, since similar concerns run through many of the poems, and techniques deployed are often similar.
Also, for AG and Kaufman, check the exercises/study sheets on Bb, which give some pointers and point to some secondary sources (full articles in the Lit. Resource Center and excerpts in MAP, as usual; Poets.org also has some articles on AG).
Formally speaking, one interesting thing to observe about Ginsberg (esp. Howl), is how he uses image juxtapositions and ellipsis to bring worlds/world views/socio-cultural realities normally separated or cordoned off into dynamic confrontation ("hydrogen jukebox," for eg., "Mohammedan angels / staggering on tenement roofs," "supernatural darkness of cold-water flats," "teahead joyride / neon blinking traffic light," "submarine light of Bickford’s," etc.; "hydrogen jukebox," for example, as an image condenses--and brings into direct confrontation-- references to the military-industrial complex and 1950's escapist, pop youth culture ); Ginsberg also uses ellipsis and image juxtapositions to better re-present the experience of distorted/contorted cultural conditions ("cowered in unshaven rooms," "ate fire in paint hotels"...). See the study materials on Bb in "assignments" for an explanation of these and other formal and thematic aspects of Ginsberg's poetry--see esp the first two wk 6 exercises on Ginsberg. See also the fourth wk 6 exercise, on Kaufman, if you choose to write about his poetry. Howl's imagery gains a lot of its power by looking beneath the Leave-It-To-Beaver, repressive/restrictive ideological surface of American culture in the 1950s and giving a prophetic voice, through long-line free verse. to the disavowed other/underside of that culture.
Also, for AG and Kaufman, check the exercises/study sheets on Bb, which give some pointers and point to some secondary sources (full articles in the Lit. Resource Center and excerpts in MAP, as usual; Poets.org also has some articles on AG).
Formally speaking, one interesting thing to observe about Ginsberg (esp. Howl), is how he uses image juxtapositions and ellipsis to bring worlds/world views/socio-cultural realities normally separated or cordoned off into dynamic confrontation ("hydrogen jukebox," for eg., "Mohammedan angels / staggering on tenement roofs," "supernatural darkness of cold-water flats," "teahead joyride / neon blinking traffic light," "submarine light of Bickford’s," etc.; "hydrogen jukebox," for example, as an image condenses--and brings into direct confrontation-- references to the military-industrial complex and 1950's escapist, pop youth culture ); Ginsberg also uses ellipsis and image juxtapositions to better re-present the experience of distorted/contorted cultural conditions ("cowered in unshaven rooms," "ate fire in paint hotels"...). See the study materials on Bb in "assignments" for an explanation of these and other formal and thematic aspects of Ginsberg's poetry--see esp the first two wk 6 exercises on Ginsberg. See also the fourth wk 6 exercise, on Kaufman, if you choose to write about his poetry. Howl's imagery gains a lot of its power by looking beneath the Leave-It-To-Beaver, repressive/restrictive ideological surface of American culture in the 1950s and giving a prophetic voice, through long-line free verse. to the disavowed other/underside of that culture.
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