| dc.description.abstract | This thesis investigates the cultural impact Beat writer Allen Ginsberg’s Howl has had on U.S. society. After a short biography of the writer, as well as an introduction to the Beat Generation, this thesis examines how Howl came into existence. Its inspiration stemming from the long saxophone lines of jazz, Howl can be seen as a descendant of the old blues. This traditionally African-American music style was born out of “negro spirituals” and work songs, thus having its historical roots within the context of slavery. It is traditionally associated with the outsider, the cultural underground, which is also true for Howl. After its obscenity trial, Howl has paved the way for more underground voices to arise.
Obviously stemming from the old blues, examples of modern blues can be seen as owing to, or at least paralleling, Ginsberg as well. In a close reading of Beth Hart’s 2012 song “Ugliest House on the Block,” we will see that the song shares several significant characteristics with Howl. Affinity can be identified in their choice of themes, as well as with both works being a genuine voice of the cultural outside directed towards the mainstream. Next, a literary affinity is demonstrated on the basis of Charles Bukowski’s Women, another successful work from the social outside. Women’s open treatment of the protagonist’s relationships with women, alcohol and drugs gives a voice to addicts and a look into life with addiction. Howl and Women are relatable, as both works attain their function as social critique through bathos and openness. Finally, twenty-first-century social commentary can be seen as akin to Howl as well, as demonstrated with George Carlin’s poetic stand-up act “Modern Man.” Both works comically but firmly warn society of its contemporary dangers.
The Beat Generation, with Howl being a key work, helped open up the U.S. cultural climate and paved the way for many new expressions of social commentary and voices from the cultural outside. Through bringing Howl into conversation with more recent American music, literature and stand-up comedy, this thesis aims to show how, across genres and media, the concept of “outside,” or counter-culture, has become a progressively mainstream phenomenon and how this has led to more social change. | |
