Tuesday October 23, 2018

By referencing movements like Dadaism in his poem “Howl,” Ginsberg situates his actions and the actions of his circle of Beat contemporaries as an Americanized continuation of the radical political-aesthetic projects of the European avant-garde. Each of these figures — the “great minds” referenced in the poem’s first line — appears by the end of the poem’s first section as a Jesus, a savior or Messiah “destroyed” for living free, brains and imagination sacrificed to the bloodthirsty demiurge Moloch. The key to Moloch’s true identity appears midway through Section II when Ginsberg reveals its more common alias, “the Mind,” i.e. dead labor, A.I., the practico-inert: “consciousness without a body” (22).

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