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"Howl" is a poem written by Allen Ginsberg in 1955, published as part of his 1956 collection of poetry titled ''Howl and Other Poems'', and dedicated to Carl Solomon. Ginsberg began work on "Howl" as early as 1954. In the Paul Blackburn Tape Archive at the University of California, San Diego, 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.〔Bill Savage (2008). (Allen Ginsberg's "Howl" and the Paperback Revolution ). Poets.org, Academy of American Poets.〕〔Jonah Raski (2006). (American Scream: Allen Ginsberg's Howl and the Making of the Beat Generation ). University of California Press. 223.〕 It came to be associated with the group of writers known as the Beat Generation.〔 There is no foundation to the myth that "Howl" was written as a performance piece and later published by poet Lawrence Ferlinghetti of City Lights Books. This myth was perpetuated by Ferlinghetti as part of the defense's case during the poem's obscenity trial. Upon the poem's release, Ferlinghetti and the bookstore's manager, Shigeyoshi Murao, were charged with disseminating obscene literature, and both were arrested. On October 3, 1957, Judge Clayton W. Horn ruled that the poem was not obscene.〔Morgan, Bill and Joyce Peters. ''Howl on Trial''.(2006) p. xiii.〕 ==Background== Allen Ginsberg wrote drafts of the poem "Howl" in mid-1954 to 1955, purportedly at a coffeehouse known today as the Caffe Mediterraneum in Berkeley, California. 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 quit his job and pursue poetry full-time.〔Allen Ginsberg. ''Journals Mid-Fifties: 1954-1958''. Ed. Gordon Ball. HarperCollins, 1995. 0060167718.〕〔James Breslin. "Allen Ginsberg: The Origins of ''Howl'' and ''Kaddish.''" ''Poetry Criticism''. Ed. David M. Galens. Vol. 47. Detroit: Gale, 2003.〕 He experimented with a syntactic subversion of meaning called parataxis in the poem "Dream Record: June 8, 1955" about the death of Joan Vollmer, a technique that would become central in "Howl."〔〔Miles, Barry. ''Ginsberg: A Biography''. London: Virgin Publishing Ltd. (2001), paperback, 628 pages, ISBN 0-7535-0486-3, pg. 182〕 Ginsberg showed this poem to Kenneth Rexroth, who criticized it as too stilted and academic; Rexroth encouraged Ginsberg to free his voice and write from his heart.〔''Journals Mid-Fifties'', pg.9〕〔Miles, pg. 183〕 Ginsberg took this advice and attempted to write a poem with no restrictions. He was under the immense influence of William Carlos Williams and Jack Kerouac and attempted to speak with his own voice spontaneously.〔〔''Journals Mid-Fifties'', pg. 167〕 Ginsberg began the poem in the stepped triadic 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.〔〔 Ginsberg would experiment with this breath-length form in many later poems. The first draft contained what would later become Part I and Part III. 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 homosexuality, which subsequently provoked an obscenity trial. Although Ginsberg referred to many of his friends and acquaintances (including Neal Cassady, Jack Kerouac, William S. Burroughs, Peter Orlovsky, Lucien Carr, and Herbert Huncke), the primary emotional drive was his sympathy for Carl Solomon, to whom it was dedicated; he met Solomon in a mental institution and became friends with him. Ginsberg admitted later this sympathy for Solomon was connected to bottled-up guilt and sympathy for his mother's schizophrenia (she had been lobotomized), an issue he was not yet ready to address directly. In 2008, Peter Orlovsky told the co-directors of the 2010 film ''Howl'' that a short moonlit walk—during which Orlovsky sang a rendition of the Hank Williams song "Howlin’ At the Moon"—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." The Dedication by Ginsberg states he took the title from Kerouac. The poem was first performed at the Six Gallery in San Francisco on October 7, 1955.〔(Heidi Benson, ''Howl'', San Francisco Chronicle, October 4, 2005 )〕 The reading was conceived by Wally Hedrick — 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." Further evidence that this was not performance art but poetry - a written piece that Ginsberg would not and has not ever described as anything but a poem not a performance piece.〔Jonah Raskin, ''American Scream: Allen Ginsberg's "Howl" and the Making of the Beat Generation''〕 Ginsberg was ultimately responsible for inviting the readers (Gary Snyder, Philip Lamantia, and Philip Whalen, Michael McClure and Kenneth Rexroth) and writing the invitation. "Howl" was the second to the 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.〔 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..."〔(Poets.org, From the Academy of American Poets: ''Allen Ginsberg'' )〕 Soon afterwards, it was published by Lawrence Ferlinghetti, who ran City Lights Bookstore and the ''City Lights Press.'' Ginsberg completed Part II and the "Footnote" after Ferlinghetti had promised to publish the poem. "Howl" 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: "America", "Sunflower Sutra," "A Supermarket in California", etc. The earliest extant recording of "Howl" was thought to date from March 18, 1956. (The Blackburn Collection recordings show otherwise). Ginsberg and Snyder, after hitch-hiking from San Francisco, read from their poems in the Anna Mann dormitory at Reed College, Snyder's alma mater. This recording, discovered in mid-2007 on a reel-to-reel tape in the Reed College archives, contains only Part I of "Howl." After beginning to read Part II, Ginsberg said to the audience, "I don't really feel like reading anymore. I just sorta haven't got any kind of steam."〔Jeff Baker, ("'Howl' tape gives Reed claim to first," ) ''The Oregonian,'' 2008-02-12〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Howl」の詳細全文を読む スポンサード リンク
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