Allen Ginsberg's Life
Ginsberg, Allen (3 June 1926-6 Apr. 1997), poet, was born in Newark, New Jersey, the younger son of Louis Ginsberg, a high school English teacher and poet, and Naomi Levy Ginsberg. Ginsberg grew up with his older brother Eugene in a household shadowed by his mother's mental illness; she suffered from recurrent epileptic seizures and paranoia. An active member of the Communist Party-USA, Naomi Ginsberg took her sons to meetings of the radical left dedicated to the cause of international Communism during the Great Depression of the 1930s.
In the winter of 1941, when Allen was a junior in high school, his mother insisted that he take her to a therapist at a Lakewood,
New Jersey, rest home, a disruptive bus journey he described in his long autobiographical poem "Kaddish." Naomi Ginsberg spent most of the next fifteen years in mental hospitals, enduring the effects of electroshock treatments and a lobotomy before
her death at Pilgrim State Hospital in 1956. Witnessing his mother's mental illness had a traumatic effect on Ginsberg, who wrote poetry about her unstable condition for the rest of his life.
Graduating from Newark's East Side High School in 1943, Ginsberg later recalled that his most memorable school day was the afternoon his English teacher Frances Durbin read aloud from Walt Whitman's "Song of Myself" in a voice "so enthusiastic and joyous . . . so confident and lifted with laughter" that he never forgot the image of "her black-dressed bulk seated squat behind an English class desk, her embroidered collar, her voice powerful and high" (quoted in Schumacher, p. 17). Despite his passionate response to Whitman's poetry, Ginsberg listed government or legal work as his choice of future occupation in the high school yearbook.
Attending the college of Columbia University on a scholarship, Ginsberg considered his favorite course the required freshman
great books seminar taught by Lionel Trilling. Later Ginsberg also cited the renowned literary critics and biographers Mark
Van Doren and Raymond Weaver as influential professors at Columbia. But Ginsberg's friends at Columbia were an even greater influence than his professors on his decision to become a poet. As a freshman he met undergraduate Lucien Carr, who introduced him to William S. Burroughs and Jack Kerouac, part of a diverse (and now legendary) circle of friends that grew to include the Times Square heroin addict Herbert Huncke, the young novelist John Clellon Holmes, and a handsome young drifter and car thief from Denver named Neal Cassady, with whom Ginsberg fell in love. Kerouac described the intense encounter between Ginsberg and Cassady in the opening chapter of his novel On the Road (1957).
These friends became the nucleus of a group that named themselves the "Beat Generation" writers. The term was coined by Kerouac in the fall of 1948 during a conversation with Holmes in New York City. The word "beat" referred loosely to their shared sense of spiritual exhaustion and diffuse feelings of rebellion against what they experienced as the general conformity, hypocrisy, and materialism of the larger society around them caught up in the unprecedented prosperity of postwar America.
In the summer of 1948, in his senior year at Columbia, Ginsberg had dedicated himself to becoming a poet after hearing in a vision the voice of William Blake reciting the poem "Ah Sunflower." Experimenting with drugs like marijuana and nitrous oxide to induce further visions, or what Ginsberg later described as "an exalted state of mind," he felt that the poet's duty was to bring
a visionary consciousness of reality to his readers. He was dissatisfied with the poetry he was writing at this time, traditional work modeled on English poets like Sir Thomas Wyatt or Andrew Marvell whom he had studied at Columbia.
In June 1949 Ginsberg was arrested as an accessory to crimes carried out by Huncke and his friends, who had stored stolen
goods in Ginsberg's apartment. As an alternative to a jail sentence, Ginsberg's professors Van Doren and Trilling arranged with the Columbia dean for a plea of psychological disability, on condition that Ginsberg was admitted to the Columbia Presbyterian Psychiatric Institute. Spending eight months in the mental institution, Ginsberg became close friends with the young writer Carl Solomon, who was treated there for depression with insulin shock.
In December 1953 Ginsberg left New York City on a trip to Mexico to explore Indian ruins in Yucatan and experiment with various drugs. He settled in San Francisco, where he fell in love with a young artist's model, Peter Orlovsky; he took a job in market research, thinking that he might enroll in the graduate English program at the University of California in Berkeley. In August 1955, inspired by the manuscript of a long jazz poem titled "Mexico City Blues" that Kerouac had recently written in Mexico City, Ginsberg found the courage to begin to type what he called his most personal "imaginative sympathies" in the long poem "Howl for Carl Solomon" (Original Draft Facsimile Howl, p. xii). As his biographer Bill Morgan stated, in the poem "Allen finally accepted his homosexuality and stopped trying to become 'straight'" (Allen Ginsberg and Friends, p. 31).
In October 1955 Ginsberg read the first part of his new poem in public for the first time to tumultuous applause at the Six
Gallery reading in San Francisco with the local poets Kenneth Rexroth, Gary Snyder, Michael McClure, Philip Whalen, and Philip LaMantia. Journalists were quick to herald the reading as a landmark event in American poetry, the birth of what they labeled the San Francisco Poetry Renaissance. Lawrence Ferlinghetti, who ran the City Lights Book Store and the City Lights publishing house in North Beach, sent Ginsberg a telegram echoing Ralph Waldo Emerson's response to Walt Whitman's Leaves of Grass: "I greet you at the beginning of a great career. When do I get the manuscript?" Later Ginsberg wrote that "in publishing 'Howl,' I was curious to leave behind after my generation an emotional time bomb that would continue exploding in U.S. consciousness in case our military-industrial-nationalist complex solidified into a repressive police bureaucracy" (Original Draft Facsimile Howl, p. xii).
Early in the following year Howl and Other Poems was published with an introduction by William Carlos Williams as number four in the City Lights Pocket Poets Series. In May 1956 copies of the small black-and-white stapled paperback were seized by the San Francisco police, who arrested Ferlinghetti and Shigeyoshi Murao, his shop manager, and charged them with publishing and selling an obscene and indecent book. The American Civil Liberties Union took up the defense of Ginsberg's poem in a highly publicized obscenity trial in San Francisco, which concluded in October 1957 when Judge Clayton Horn ruled that Howl had redeeming social value.
During the furor of the trial, Ginsberg left California and settled in Paris with Orlovsky, who was to remain his companion
for the next forty years. Living on Ginsberg's royalties from Howl and Orlovsky's disability checks as a Korean War veteran,
they traveled to Tangier to stay with Burroughs and help him assemble the manuscript later published as his novel Naked Lunch (1959). In 1958 Ginsberg returned to New York City, still troubled by his mother's death in the mental hospital two years before, haunted by the thought that he had never properly said goodbye to her. Using various drugs to explore his painful memories of their life together and confront his complex feelings about his mother, Ginsberg wrote his greatest poem, "Kaddish for Naomi Ginsberg," modeling his elegy on the traditional Jewish memorial service for the dead.
Continuing to experiment with various psychedelic stimulants to create visionary poetry, Ginsberg traveled to South America,
Europe, Morocco, and India with Orlovsky in 1962. It was the most important trip of his life. Staying in India for nearly
two years, he met with holy men in an effort to find someone who could teach him a method of meditation that would help him
deal with his egotism and serve as a vehicle for heightened spiritual awareness. On a train in Japan, Ginsberg recorded in his poem "The Change" his realization that meditation, not drugs, could assist his enlightenment. He returned to North America in the fall of 1963 to attend the Vancouver Poetry Conference with Charles Olson, Robert Duncan, Robert Creeley, Denise Levertov, and many other poets who felt that they formed a community of nonacademic experimental writers.
In 1968 Ginsberg received wide coverage on television during the Democratic National Convention when he and the members of the National Mobilization Committee who were against U.S. participation in the war in Vietnam confronted the police in Chicago's Grant Park. The poet stayed on an impromptu stage and chanted "Om" in an attempt to calm the crowds being brutally attacked by tear gas and billy clubs. Ginsberg's courage, his humanitarian political views and support of homosexuality, his engagement in Eastern meditation practices, and his charismatic personality made him one of the favorite spokesmen chosen by a younger generation of radicalized Americans known as "hippies" during the end of this turbulent decade.
In the early 1970s Ginsberg's serious, bearded image with black-rimmed glasses, a tweed jacket, and an "Uncle Sam" paper top hat became a ubiquitous poster protesting the Vietnam War. In 1971 Ginsberg met Chogyam Trungpa Rinpoche, who became his meditation teacher at the Naropa Institute, a Buddhist college in Boulder, Colorado. Three years later, Ginsberg, assisted by the young poet Anne Waldman, founded a creative writing program called the Jack Kerouac School of Disembodied Poetics at Naropa. Ginsberg taught summer poetry workshops there and lectured during the academic year
at Brooklyn College as a tenured distinguished professor until the end of his life.
In his remaining years, publishing steadily and traveling tirelessly despite increasing health problems with diabetes and the aftereffects of a stroke, Ginsberg gave readings in Russia, China, Europe, and the South Pacific. In the bardic tradition of William Blake, who played a pump organ when he read his poetry, Ginsberg often accompanied himself on a portable harmonium bought in Benares for fifty dollars. He was the archetypal Beat Generation writer to countless poetry audiences and to the general public. Unlike Kerouac, who died in 1969, Ginsberg remained a radical poet, the embodiment of the ideals of personal freedom, nonconformity, and the search for enlightenment. As a member of the American Academy and Institute of Arts and Letters, he unabashedly used his prestige to champion the work of his friends. Two months short of his seventy-first birthday, he died of liver cancer at his home in the East Village, New York City.
Along with Ginsberg's many awards and honors, his list of publications encompasses hundreds of items. Most notably, in addition to those mentioned above, they include the collections Reality Sandwiches, 1953-1960 (1963); Planet News, 1961-1967 (1968); Indian Journals: March 1962-May 1963 (1970); The Fall of America: Poems of These States, 1965-1971 (1972), which won the National Book Award; Gordon Ball, ed., Allen Verbatim: Lectures on Poetry, Politics, Consciousness (1974); Mind Breaths: Poems, 1972-1977 (1978); Plutonium Ode: Poems, 1977-1980 (1982); Collected Poems: 1947-1980 (1985); Barry Miles, ed., Howl: Original Draft Facsimile, Transcript & Variant Versions, Fully Annotated by Author, with Contemporaneous Correspondence, Account of First Public Reading, Legal Skirmishes, Precursor Texts & Bibliography (1986); White Shroud: Poems, 1980-85 (1986); Cosmopolitan Greetings: Poems, 1986-1992 (1994); Selected Poems, 1947-1995 (1996), and Death and Fame: Last Poems, 1993-1997 (1999). The front dust wrapper of this last book is a color photograph of the poet standing in his apartment next to a portrait of Walt Whitman, both white-bearded. The list of the forty most important Ginsberg titles in his posthumously published Death and Fame was gathered by his editors Bob Rosenthal, Peter Hale, and Bill Morgan into the categories of Poetry, Prose, Photography, and Vocal Words and Music. Bill Morgan compiled the 456-page descriptive Ginsberg bibliography, The Works of Allen Ginsberg, 1941-1994 (1995). J. W. Ehrlich edited Howl of the Censor (1961), an account of the 1957 San Francisco trial investigating obcenity in Ginsberg's poem. Jane Kramer, Allen Ginsberg in America, was an early biography, followed by two full-length biographies: Barry Miles, Ginsberg (1989), and Michael Schumacher, Dharma Lion: A Critical Biography of Allen Ginsberg (1992). Bill Morgan, archivist for the estate of Allen Ginsberg, prepared the biographical text in Allen Ginsberg and Friends (New York: Sotheby's Catalog for Sale 7351, Oct. 7, 1999). An obituary is in the New York Times, 7 Apr. 1997.
Source: http://www.anb.org/articles/16/16-03394.html; American National Biography Online June 2000 Update. Access Date: Sun Mar 18 11:32:26 2001 Copyright (c) 2000 American Council of Learned Societies. Published by Oxford University Press. All rights reserved.
Allen Ginsberg was born June 3, 1926 and grew up in Paterson, New Jersey. His father, Louis, was a high school teacher and an accomplished lyric poet. His mother, Naomi, a Communist during the Depression, suffered from psychotic delusions. At times, she insisted there were wires in her head with which people could hear her thinking. Coming of age in a household of modest means, Ginsberg's early life seemed to steer him away from the conventional. He was from a family of Jewish Russian immigrants, his family had ties to the radical labor movement, his mother was insane, and he was a homosexual: four prescriptions in the conventional1940's and 1950's for a sense of deep alienation.
Inspired by Naomi's "mad idealism" to defend the underpriviliged, Ginsberg entered Columbia University as a pre-law student. He later changed his major to literature, and studied under Mark Van Doren and Lionel Trilling. However, more influential in Ginsberg's artistic and personal development was the off-campus circle of friends with whom he became involved. At its center was Jack Kerouac, a former Columbia student, and the older William S. Burroughs, a sophisticated cosmopolitan hipster who introduced his younger colleagues to Manhattan's varied subcultures. Ginsberg's other friends and acquintances from the time included the writers Herbert Hunke, John Clellon Holmes and Lucien Carr (father of bestselling author Caleb Carr) as well as the charasmatic Neal Cassady. Each would emerge as key figures in the Beat movement of a decade later.
In 1945, for reasons now clouded in legend, Ginsberg was expelled from Columbia. Reinstated in 1946, he received his bachelor's degree two years later. However, nineteen forty-eight was significant for an experience central to Ginsberg's life as a poet. Living in an East Harlem tenement, Ginsberg heard the voice of William Blake intoning "Ah! Sunflower." Staring out the window
. . . I began noticing in every corner where I looked evidences of a living hand, even in the bricks, in the arrangement of each brick, Some hand placed them there - that some hand had placed the whole universe in front of me . . . . Or that God was in front of my eyes - existence itself was God . . . . what I was seeing was a visionary thing, it was a lightness in my body . . . my body suddenly felt light, and a sense of cosmic consciousness, vibrations, understanding, awe, and wonder and surprise. And it was a sudden awakening into a totally deeper real universe that I'd been existing in.
(Paris Review interview)
The search for a "totally deeper real universe" continued for Ginsberg. He remained in New York City until 1953, writing (largely conventional) poetry and supporting himself by working as a book reviewer, market researcher, etc . . . . Deciding to follow Neal Cassady (with whom he had fallen in love) to San Francisco, Ginsberg travelled to Cuba, Mexico and eventually arrived on the West Coast - home to a vibrant, bohemian literary community. (For more on the beginnings of Beat, check out "How Beat Happened," a superb introduction to Beat Culture by Steve Silberman,)
Bearing a letter of introduction from the poet (and fellow Paterson resident) William Carlos Williams, Ginsberg met Kenneth Rexroth, a distinguished man-of-letters and center of what was then known as the San Francisco Poetry Renaissance . Presided over by Rexroth, this active Bay Area poetry community included Lawrence Ferlinghetti, Michael McClure, Gary Synder, Philip Whalen, Robert Duncan, Jack Spicer, Josephine Miles, James Broughton, Philip Lamantia and other writers, artists, filmmakers and avant-gardists. In October 1955, Rexroth hosted a reading at the Six Gallery in San Francisco: the poets who read that evening included Synder, Whalen, McClure, Lamantia and Ginsberg in what would be his poetry-reading debut. Cheered on by Kerouac, Ginsberg gave an inspired, first ever reading of "Howl."
I saw the best minds of my generation destroyed by madness, starving hysterical naked,
dragging themselves through the negro streets at dawn looking for an angry fix,
angelheaded hipsters, burning for the ancient heavenly connection to the starry dynamo in the
machinery of night
who poverty and tatters and hollow-eyed and . . . .
So begins "Howl," one of the most widely read poems of the century. Ginsberg composed it in what he calls his "Hebraic-Melvillian bardic breath," a free-verse form whose sources include the poets and writers Christopher Smart, Percy Shelley, Guillaume Apollinaire, Kurt Schwitters, Vladimir Mayakovsky, Antonin Artaud, Federico Garcia Lorca, Hart Crane and William Carlos Williams. In the 1950's (and into the 1960's), Ginsberg also used drugs as a means of inducing visionary awareness, such as his Blake experience had provided. Thus, exposed to new influences and literary friends in California - Ginsberg achieved the open-form poetry which sets his work apart from the largely traditional verse of the time.
After the Gallery Six reading - Lawrence Ferlinghetti offered to publish Howl and Other Poems (1956) as part of his City Lights Books Pocket Poet series. In 1957, United States Custom officers and San Francisco police seized the edition, and Ferlinghetti was charged with publishing an obscene book. The trial, in which well known establishment writers like Rexroth, Mark Shorer, Walter Van Tilburg Clark and others testified for the defense, drew local banner headlines and nation-wide attention. By the time Judge Clayton W. Horn delivered the verdict that "Howl" was not obscene, the Beat movement had been given a manifesto of-sorts and Allen Ginsberg was famous.
On the road for the next decade - sometimes with Kerouac, Burroughs, Corso and his longtime companion, Peter Orlovsky - Ginsberg roamed the country and the world. Beginning in the early 1950's, Ginsberg would venture to the Yucatan (where he helped discover a notable Mayan archeological site), to Tangier's (where he would visit the expatriot community centered around Paul Bowles) and to Europe (where he would live for a while in Paris). Sea voyages as a member of the merchant marine took him to Africa and the Artic. In 1960 he would spend half a year in Chile, Peru, Bolivia and the Amazon region.
Most importantly during this time, Ginsberg exorcised some of his internal demons by writing 'Kaddish,' a brilliant long poem about his mother's insanity and death. Published in book form in 1961, "Kaddish" is a prayer and lament for Naomi Ginsberg. It is also widely regarded as his finest work. The poem gives a seemingly factual account of his mother's tragic journey through life, from that of a frightened Russian child to a young women in America and onward "toward education, marriage, nervous breakdown, operation, teaching school, and learning to be mad." A bittersweet epilogue to "Kaddish," called "White Shroud," was published twenty five years later.
Throughout 1962 and 1963, Ginsberg and Orlovsky toured the Far East. There, Ginsberg came into direct contact with the traditions of Zen Buddhism. His interest in Buddhism and Asian literature had been sparked by his Bay Area friendships with Synder, Whalen and Rexroth. Ginsberg's interest, which would shape the development of his poetry, has continued to the present.
In 1965, Ginsberg went to Cuba as a correspondent for the Evergreen Review but was deported when he spoke against the government's persecution of homosexuals at Havana University. He then journeyed to the Soviet Union, Poland and Czechoslovakia, where he was again deported after more than 100,000 people in Prague crowned him King of May in 1965. Back in the United States, the F.B.I. placed him on their Dangerous Security List.
Throughout the 1960's, Ginsberg took an active role in the growing anti-war and counter-culture movements. In 1965 he coined the term "flower power." He was also a moving spirit (along with Synder, McClure and Timothy Leary) behind the first of the hippie mass gatherings, the 1967 Gathering of the Tribes for a Human Be-In held in nearby Golden Gate Park. Later the same year he was arrested with Dr. Benjamin Spock and others for his part in a New York City antiwar demonstration. During the 1968 Democratic Convention, Ginsberg was tear-gassed while trying to induce calm and chanting "Om" at the Yippie Life Festival. At the trial of the demonstration leaders - known as the Chicago Seven, Ginsberg testified for the defense.
Ginsberg's literary efforts during the 1960's and early 1970's were many and varied. At the time, poetry was chiefly the written art of academic craftsman. Ginsberg took it out of the study and classroom and onto the podium, becoming a skilled public performer of his poems. His books from this period include Reality Sandwiches (1963), The Yage Letters (with William S. Burroughs) (1963), Indian Journals (1970) and The Fall of America (1972) - for which he was awarded National Book Award. Planet News (1968) constitutes a poetic record of his travels in Eastern Europe, the Indian subcontinent and other parts of Asia as well as the United States. Included in this latter collection is "Wichita Vortex Sutra," one of the poet's most accomplished and well known works. It is also one of Ginsberg's most political works.
. . . Kansas! Kansas! Shuddering at last!
PERSON appearing in Kansas!
angry telephone calls to the University!
Police dumbfounded leaning on
their radiocar hoods . . .
In 1974, Ginsberg helped found the Jack Kerouac School of Disembodied Poetics at the Naropa Institute, the first accredited Buddhist college in the Western world. Earlier, Ginsberg had met Chogyam Trungpa, a Tibetan Buddhist who had recently arrived in the United States. Trungpa taught full acceptance of sensual experience as the route to enlightenment and "the sacredness of immediate experience, sexual candor, and absence of censoriousnes." These Buddhist believes echo many notions found in various Beat writings.
With the end of the war in Vietnam, Ginsberg refocussed his political energies on efforts to expose alleged CIA subsidization of drug trafficking; in attempts to reform American drug laws (including testifying before Congress); and in the antinuclear, environmental and gay liberation movements. He has also spoken out against covert action by the United States government, including domestic harassment of the counterculture.
Following a pattern set early in his career, Ginsberg has continued to produce and publish work in many fields. The last two decades have seen numerous books and small press editions, including Journals: Early Fifties, Early Sixties (1977), Mind Breaths (1978), Plutonian Ode (1982), Collected Poems (1984), White Shroud (1986), Cosmopolitan Greetings (1994) and Journals Mid-Fifties 1954 - 1958. These last four titles were published by Harper, and mark Ginsberg's first publishing agreement with a major publisher.
During the 1970's and 1980's, Ginsberg recorded and occasionally toured with Bob Dylan, John Hammond, Sr. and the Clash. In 1994, Rhino Records released Holy Soul Jelly Roll: Poems and Songs 1949 - 1993, a four-disc compilation of the poet's many spoken word recordings. This multiset disc and its accompanying booklet serve as a kid of "selected works" of Ginsberg's spoken word recordings. Other recent CD releases have included The Lion For Real (1989) and The Ballad of the Skeletons (1996), as well as collaborative efforts with Philip Glass, Hydrogen Jukebox (1993), and the Kronos Quartet, Howl U.S.A. (1996).
In 1960's, Ginsberg appeared in some of the most famous experimental films of the decade, including the well known Pull My Daisy. His longtime interest in the visual arts - especially photography, a practice encouraged by his longtime friend Robert Frank - have now been collected in two books, Photographs (1991) and Snapshot Poetics (1993). Ginsberg's photographs were also represented in a groundbreaking exhibit organized by the Whitney Museum of Art, "Beat Culture and the New America: 1950 - 1965."
Since 1974, Ginsberg has also been a member of the American Institute of Arts and Letters - the highest official recognition he has received. Ginsberg has also been named a Guggenheim fellow, and is currently a Distinguished Professor at Brooklyn College. To date, "Howl" has been translated into some 23 languages, including Chinese, Japanese, Czech, Hebrew, Macedonian, Norwegian and Polish. The just published Selected Poems, 1947 - 1995, chosen by Ginsberg from throughout his long career, collects many of the poet's well known works - and in the words of Ginsberg, "isolates & points attention to work less known, more subtle, rhetorically wild, beyond 'Beat Generation' literary stereotypes."
Return to Allen Ginsberg
Writings About Allen GinsbergMaintained by Sherri, official Literary Kicks bibliographer The following bibliography addresses itself to commentary concerning the writings and life of Allen Ginsberg. Other bibliographies are here.
BIOGRAPHY:Miles, Barry. GINSBERG: A BIOGRAPHY. NY: Simon and Schuster, 1989.
Schumacher, Michael. DHARMA LION: A BIOGRAPHY OF ALLEN GINSBERG. NY: St. Martin's Press, 1992.
BOOKS (FULL LENGTH):Burns, Glen. GREAT POETS HOWL: A STUDY OF ALLEN GINSBERG'S POETRY, 1943-1955.
Ehrlich, J.W., ed. HOWL OF THE CENSOR. San Carlos, CA: Nourse Pub. Co., 1961.
Hyde, Lewis, ed. ON THE POETRY OF ALLEN GINSBERG. Ann Arbor: U of Michigan P, 1984.
Kramer, Jane. ALLEN GINSBERG IN AMERICA. NY: Paragon House, 1969.
Merrill, Thomas F. ALLEN GINSBERG, revised edition. Boston: Twayne, 1988.
Mottram, Eric. ALLEN GINSBERG IN THE SIXTIES. Brighton, England: Unicorn Bookshop, 1972.
Portuges, Paul Cornel. THE VISIONARY POETICS OF ALLEN GINSBERG. Santa Barbara, CA: Ross-Erickson, 1978.
BOOKS (PARTIAL):Breslin, James E. "Allen Ginsberg's 'Howl,'" FROM MODERN TO COMTEMPORARY. Chicago: U of Chicago P, 1984: 77-109.
Breslin, Paul. "Allen Ginsberg as Representative Man: The Road to Naropa," THE PSYCHO-POLITICAL MUSE: AMERICAN POETRY SINCE THE FIFTIES. Chicago: U of Chicago P, 1987: 22-41.
Cargas, Harry J. DANIEL BERRIGAN AND CONTEMPORARY PROTEST POETRY. New Haven, CT: College and University Press, 1972.
Carroll, Paul. THE POEM IN ITS SKIN. Chicago: Follett, 1968.
Charters, Samuel. SOME POEMS/POETS: STUDIES IN AMERICAN UNDERGROUND POETRY SINCE 1945. Berkeley: Oyez, 1971.
Gefin, Laszlo. "Ellipsis and Riprap: The Ideograms of Ginsberg and Snyder," IDEOGRAM: HISTORY OF A POETIC METHOD. Austin: U of Texas P, 1982: 117-134.
Howard, Richard. "Allen Ginsberg," ALONE WITH AMERICA: ESSAYS ON THE ART OF POETRY IN THE UNITED STATES SINCE 1950. NY: Atheneum, 1980: 176-183.
Mersmann, James F. OUT OF THE VIET NAM VORTEX: A STUDY OF POETS AND POETRY AGAINST THE WAR. UP of Kansas, 1974.
Molesworth, Charles. "Republican Objects and Utopian Moments: The Poetry of Robert Lowell and Allen Ginsberg." THE FIERCE EMBRACE. Columbia: U of Missouri P, 1979: 37-60.
Perloff, Marjorie. "A Lion in Our Living Room: Reading Allen Ginsberg in the Eighties," POETIC LICENSE: ESSAYS ON MODERNIST AND POSTMODERNIST LYRIC. Evanston, IL: Northwestern UP, 1990: 199-230.
Rosenthal, M.L. "Allen Ginsberg," THE NEW POETS: AMERICAN AND BRITISH POETRY SINCE WORLD WAR II. NY: Oxford UP, 1967: 89-112.
Rosenthal, M.L. and Sally M. Gall. THE MODERN POETIC SEQUENCE: THE GENIUS OF MODERN POETRY. NY: Oxford UP, 1983: 422-428.
Rosenthal, M.L. THE NEW POETS. NY: Macmillan, 1967.
Simpson, Louis. "The Eye Altering Alters All," A REVOLUTION IN TASTE: STUDIES OF DYLAN THOMAS, ALLEN GINSBERG, SYLVIA PLATH AND ROBERT LOWELL. NY: Macmillan, 1978: 45-82.
Stepanchev, Stephen. AMERICAN POETRY SINCE 1945. NY: Harper Colophon Books, 1967.
ARTICLES:Aiken, William. "Denise Levertov, Robert Duncan, and Allen Ginsberg: Modes of the Self in Projective Poetry." MODERN POETRY STUDIES 10.2/3 (1981): 200-245.
Breslin, James. "Allen Ginsberg: The Origins of 'Howl' and 'Kaddish,'" IOWA REVIEW 8.2 (Spring 1977): 82-108.
Dickey, James. "From Babel to Byzantium," SEWANEE REVIEW, 65 (Summer 1957), 509-510.
Dougherty, Jay. "From Society to Self: Ginsberg's Inward Turn in 'Mind Breaths,'" SAGETRIEB 6.1 (Spring 1987): 81-92.
Gertmenian, Donald. "Remembering and Rereading 'Howl,'" PLOUGHSHARES, 2 (1975), 151-163.
Glaser, Alice. "Back on the Open Road for Boys," ESQUIRE, 60 (July 1963), 48-49, 115.
Hahn, Stephen. "The Prophetic Voice of Allen Ginsberg," PROSPECTUS: ANNUAL OF AMERICAN CULTURAL STUDIES, 2 (1976), 527-567.
Heffernan, James. "Politics and Freedom: Refractions of Blake in Joyce Cary and Allen Ginsberg," ROMANTIC AND MODERN, ed. George Bornstein. Pittsburgh: U of Pittsburgh P, 1977.
Howard, Richard. "Allen Ginsberg: O Brothers of the Laurel, Is the World Real? Is the Laurel a Joke or a Crown of Thorns?" MINNESOTA REVIEW, 9 (1969), 50-56.
Hunsberger, Bruce. "Kit Smart's Howl," WISCONSIN STUDIES IN CONTEMPORARY LITERATURE, 6 (Winter/Spring 1965), 34-44.
Johnson, Mark. "Discovery as Technique: Allen Ginsberg's 'These States,'" CONTEMPORARY POETRY 4.2 (1981): 23-46.
Lyon, George W., Jr. "Allen Ginsberg: Angel Headed Hipster," JOURNAL OF POPULAR CULTURE 3.3 (Winter 1969): 391-403.
Parkinson, Thomas. "Reflections on Allen Ginsberg as a Poet," CONCERNING POETRY, 2 (1969), 21-24.
Peck, John. "Pollution, Purification and Song," TRI-QUARTERLY 75 (Spring/Summer 1989): 121-148.
Pinckney, Darryl. "The May King," PARNASSUS: POETRY IN REVIEW 10.1 (Spring/Summer 1982): 99-116.
Portuges, Paul. "Allen Ginsberg's Paul Cezanne and the PATER OMNIPOTENS AETERNA DEUS," COMTEMPORARY LITERATURE 21 (Summer 1980): 435-449.
Rosenthal, M.L. "Poet of the New Violence," THE NATION, 184 (February 23, 1957), 162.
Schappell, Elissa. "The Craft of Poetry: A Semester with Allen Ginsberg," PARIS REVIEW, 135 (Summer 1995), 212-257.
Trilling, Diana. "The Other Night at Columbia," PARTISAN REVIEW, 26 (Spring 1959), 214-230.
INTERVIEWS:Aldrich, Michael, Edward Kissam and Nancy Blecker. IMPROVISED POETICS. Buffalo, NY: Anonym Press, 1971.
Cargas, Harry J. "An Interview with Allen Ginsberg," NIMROD 19.1 (Fall/Winter 1974): 24-29.
Carroll, Paul. "PLAYBOY Interview," PLAYBOY 16.4 (April 1969): 81-92, 236-244.
Clark, Thomas. "Allen Ginsberg: An Interview," PARIS REVIEW, 10 (Spring 1966), 13-55.
Colbert, Alison. "A Talk with Allen Ginsberg," PARTISAN REVIEW, 38 (1971), 289-309.
Faas, Ekbert. "Allen Ginsberg," TOWARDS A NEW AMERICAN POETICS. Santa Barbara: Black Sparrow, 1979: 269-288.
Freifeld, Elazar. "Conversation with Allen Ginsberg," TEL AVIV REVIEW 2 (Fall/Winter 1989-1990): 307-314.
Geneson, Paul. "A Conversation with Allen Ginsberg," CHICAGO REVIEW (Summer 1975).
Ginsberg, Allen. "Ginsberg," INTREPID. 18/19 (1971): 52-61.
Goodwin, Michael, Richard Hyatt and Ed Ward. "Q: How Does Allen Ginsberg Write Poetry?-A: By Polishing His Mind," CITY MAGAZINE 7.52 (13-26 November 1974): 30-34.
Kerouac, Jack. "Allen Ginsberg," (Portraits: Writers anecdotes about other writers), THE PARIS REVIEW, v.29, Winter 1987, 212.
Koch, Kenneth. "Allen Ginsberg Talks About Poetry," NEW YORK TIMES BOOK REVIEW, 23 October 1977: 9, 44-46.
Le Pellec, Yves. "The New Consciousness," in CT, 63-93.
McKenzie, James. "Interview," THE BEAT JOURNEY (the unspeakable visions of the individual), 8 (1978), 3-45.
Ossman, David. "Allen Ginsberg," THE SULLEN ART: INTERVIEWS. NY: Corinth, 1963: 87-95.
Packard, William. "Allen Ginsberg," THE POET'S CRAFT: INTERVIEWS FROM 'THE NEW YORK QUARTERLY,'" NY: Paragon, 1987: 30-51.
Portuges, Paul. "An Interview with Allen Ginsberg," BOSTON UNIVERSITY JOURNAL 25.1 (1977): 47-59.
Portuges, Paul and Guy Amirthanayagam. "Buddhist Meditation and Poetic Spontaneity,"WRITERS IN EAST-WEST ENCOUNTERS: NEW CULTURAL BEARINGS, ed. Guy Amirthanayagam. London: Macmillan, 1982: 10-31.
Rodman, Selden. "Allen Ginsberg," TONGUES OF FALLEN ANGELS. NY: New Directions, 1974: 183-199.
Steward, Robert and Rebekah Presson. "Sacred Speech: A Conversation with Allen Ginsberg," NEW LETTERS 54.1 (Fall 1987): 72-86.
Selerie, Gavin. THE RIVERSIDE INTERVIEWS: 1. London: November 1979.
Tyaransen, Olaf. "And The Beat Goes On: An Interview with Allen Ginsberg," HOT PRESS (Winter/Spring 1995), vol. 19, no. 8. (http://iol.ie/hotpress/) Tytell, John. "A Conversation with Allen Ginsberg," PARTISAN REVIEW, 61 (1974), 253-262.
Young, Allen. "Allen Ginsberg," GAY SUNSHINE INTERVIEWS, ed. Winston Leyland. San Francisco: Gay Sunshine, 1978: 95-128.
CORRESPONDENCE AND JOURNALS:Ginsberg, Allen. AS EVER: THE COLLECTED CORRESPONDENCE OF ALLEN GINSBERG AND NEAL CASSADY. Berkeley: Creative Arts Book Co., 1977.
Ginsberg, Allen. JOURNALS: EARLY FIFTIES, EARLY SIXTIES. ed. Gordon Ball. NY: Grove Press, 1977.
Ginsberg, Allen and Peter Orlovsky. STRAIGHT HEARTS' DELIGHT: LOVE POEMS AND SELECTED LETTERS 1947-1980. ed. Winston Leyland. Ginsberg, Allen. TO EBERHART FROM GINSBERG: A LETTER ABOUT 'HOWL,' 1956. Lincoln, MA: Penmaen Press, 1976.
BIBLIOGRAPHY:Dowden, George. A BIBLIOGRAPHY OF WORKS BY ALLEN GINSBERG, OCTOBER, 1943 TO JULY 1, 1967. San Francisco: City Lights Books, 1971.
Kraus, Muchelle. ALLEN GINSBERG: AN ANNOTATED BIBLIOGRAPHY, 1969-1977. Metuchen. N.J.: Scarecrow Press, 1980.
REVIEWS OF GINSBERG'S WRITING
REVIEWS OF HOWL AND OTHER POEMS (1956):NEW YORK TIMES BOOK REVIEW. Review of HOWL, 13 February 1972, 2-3.
Rumaker, Michael. "Allen Ginsberg's 'Howl,'" BLACK MOUNTAIN REVIEW (Autumn 1957), 228-237.
REVIEWS OF KADDISH (1961):"Criticism," AMERICA, 126, 4 March 1972, 239-240.
"Criticism," NATION, 214, 28 February 1972, 286.
"Criticism," NEWSWEEK, 79, 21 February 1972, 98-99.
"Criticism," SATURDAY REVIEW, 55, 22 April 1972, 24.
Oppen, George. "Review," POETRY, 100 (August 1961), 329.
Vendler, H. "Helen Vendler on Allen Ginsberg's 'Kaddish and Other Poems.'" MADEMOISELLE, 81: 32+, October 1975.
REVIEWS OF ANKOR WAT (1968):Brownjohn, A. Review of ANKOR WAT, by Allen Ginsberg. NEWSTATESMAN (London), 10 January 1969, 52.
Hayman, R. Review of ANKOR WAT, by Allen Ginsberg. ENCOUNTER (London), February 1970, v. 34, 89.
Lask, Thomas. "Books of the Times; Guru and Faculty Advisor." Review of ALLEN GINSBERG IN AMERICA, by Jane Kramer, PLANET NEWS, ANKOR WAT and T.V. BABY POEMS, by Allen Ginsberg. NEW YORK TIMES, 17 May 1969, 31, Column 1.
Lehman, D. Review of ANKOR WAT, by Allen Ginsberg. POETRY, September 1969, v. 114, 403-405.
Shapiro, K. Review of ANKOR WAT, by Allen Ginsberg. BOOK WORLD, 25 May 1969, 6.
TIMES LITERARY SUPPLEMENT. Review of ANKOR WAT, (London), 30 January 1969, 107.
REVIEWS OF PLANET NEWS (1968):Berkson, B. Review of PLANET NEWS. POETRY, July 1969, v. 114, 251.
Brownjohn, A. Review of PLANET NEWS. NEWSTATESMAN, 10 January 1969, 52.
Grissim, John Jr. Review of PLANET NEWS. ROLLING STONE, 17 May 1969, n. 33, 18.
Hayman, R. Review of PLANET NEWS. ENCOUNTER (London), February 1970, 89.
Leibowitz, H. Review of PLANET NEWS. HUDSON RIVER, Autumn 1969, 500-501.
Lipton, Lawrence. "News from Planet Earth as Reported by Allen Ginsberg." Review of PLANET NEWS. LOS ANGELES FREE PRESS, 7-13 February 1969, v.6, issue 238, 26-27. Rpt. GEORGIA STRAIGHT, 28 February-March 1969, v.3, n. 47, 11, 14.
NEW YORK TIMES BOOK REVIEW, Review of PLANET NEWS, 31 August 1969, 8.
Robinson, Bill. Review of PLANET NEWS, by Allen Ginsberg. GREAT SPECKLED BIRD, 24 March 1969, v.2, n.2, 8.
Vendler, T. Review of PLANET NEWS. NEW YORK TIMES, 31 August 1969, 8.
Wirick, Richard. Review of PLANET NEWS. DAMASCUS FREE PRESS, July 1969, v.1, n.6, 2.
Wolf, R. "12 Minute Derivative Mock-Up." Review of PLANET NEWS. COMMON SENSE, 1 October 1969, v.1, n.14, 8.
Zweig, Paul. "Music of Angels," Review of PLANET NEWS, by Allen Ginsberg. NATION, 10 March 1969, v.208, 311-313.
REVIEWS OF AIRPLANE DREAMS (1969):Durgnat, R. Review of AIRPLANE DREAMS, by Allen Ginsberg. POETRY REVIEW, (London), Winter 1970/1971, 366.
REVIEWS OF INDIAN JOURNALS (1970):Ginsberg, Louis. Review of INDIAN JOURNALS. WIN, 1 September 1970, v.VI, n.14, 28-29.
GUARDIAN WEEKLY, Review of INDIAN JOURNALS, 3 October 1970, v.103, 18.
LIBRARY JOURNAL, Review of INDIAN JOURNALS, 1 September 1970, v.95, 2801.
Whittemore, Reed. "From Howl to Om." Review of INDIAN JOURNALS. NEW REPUBLIC, 25 July 1970, v.163, 17-18.
REVIEWS OF THE FALL OF AMERICA (1972):Abramson, Neal. Review of THE FALL OF AMERICA, by Allen Ginsberg. FOOTNOTES, MAGAZINE OF LEHMAN COLLEGE, 7-10.
Albert, Stew. "Comedians, Folksingers, and Lovers." (editorial) Review of THE FALL OF AMERICA, by Allen Ginsberg. UNIVERSITY REVIEW, April 1973, n.28.
AMERICA. Review of THE FALL OF AMERICA, 9 June 1973, v.128, 553.
Andrews, Lyman. "Tones of Voices." Review of THE FALL OF AMERICA, by Allen Ginsberg. SUNDAY TIMES (London), 15 April 1973, 38.
BOOKLIST. Review of THE FALL OF AMERICA, 15 December 1972, v.72, 562.
CHOICE. Review of THE FALL OF AMERICA, June 1973, v.10, 618.
Fried, Jerome. Review of THE FALL OF AMERICA, by Allen Ginsberg. SAN FRANCISCO PHOENIX, 25.
Gaines, Jacob. "The HIP World Poet Laureate." Review of THE FALL OF AMERICA, by Allen Ginsberg. INDEPENDENT JOURNAL, 10 March 1973, M31.
Grant, Barry. Review of THE FALL OF AMERICA, by Allen Ginsberg. ETHOS, v.8, n.2, 15-17.
Hall, Donald. "Knock Knock." (A Regular Column) Review of THE FALL OF AMERICA, by Allen Ginsberg. THE AMERICAN/POETRY REVIEW. July/August 1973, v.2, n.4, 37.
Henry, G. Review of THE FALL OF AMERICA, by Allen Ginsberg. POETRY, August 1974, v.124, 292-293.
LIBRARY JOURNAL. Review of THE FALL OF AMERICA, 1 June 1973, v.98, 1823.
Martin, Sam. Review of THE FALL OF AMERICA. DOOR, 22 March-12 April 1973, v.4, issue 18, 14.
Middlebrook, Diane. "Bound Each to Each." Criticism of Allen Ginsberg's THE GATES OF WRATH and THE FALL OF AMERICA; POEMS OF THESE STATES, PARNASSUS II, (Spring/Summer, 1974), 128-135.
Moon, Byron. "Literata." Review of THE FALL OF AMERICA, by Allen Ginsberg. MINNESOTA DAILY, 29 January 1973, v.74, n.89, p.13, 16.
Moser, Norm. "Books, Arts in Review." Review of THE FALL OF AMERICA, by Allen Ginsberg. GAR, February-March 1974, v.3, n.3, 26-27.
Murray, Michele. "Leafing Through: Poets Buck the Coca Cola Syndrome." Review of THE FALL OF AMERICA, by Allen Ginsberg. NATIONAL OBSERVER, 9 June 1973.
NATIONAL OBSERVER. Review of THE FALL OF AMERICA, 9 June 1973, v.12, 23.
NEW YORK TIME BOOK REVIEW. Review of THE FALL OF AMERICA, 10 June 1973, 41.
NEW YORK TIMES BOOK REVIEW. Review of THE FALL OF AMERICA, 2 December 1973, 79.
Niederman, Fred. "Shaman a Showman." Review of THE FALL OF AMERICA, by Allen Ginsberg. DAILY NEXUS, 3 May 1973, v.53, n.119, 2-4.
Norris, Ruth. "Allen Ginsberg's Euphoria Transcends Social Solutions," Review of THE FALL OF AMERICA. DAILY WORLD, 15 June 1973, 8.
Pritchard, W.H. Review of THE FALL OF AMERICA. HUDSON REVIEW, Autumn, 1973, 592.
Rogers, Michael. "Kerouac and Ginsberg: On the Road Again." Review of THE FALL OF AMERICA, by Allen Ginsberg and VISIONS OF CODY, by Jack Kerouac. ROLLING STONE, 12 April 1973, n.132, p.68.
Shively, Charles. Review of THE FALL OF AMERICA, IRON HORSE, BIXBY CANYON/OCEAN PATH/WORD BREEZE, THE GATES OF WRATH, by Allen Ginsberg. GAY SUNSHINE, June-July 1973, n.18, p.14-15.
Slater, George Dillon. "Ginsberg Is Angry, Allen Sees All Sorts of Creeping, Crawling Perils in THE FALL OF AMERICA. SAN FRANCISCO CHRONICLE, 23 June 1973.
TIMES LITERARY SUPPLEMENT. Review of THE FALL OF AMERICA (London), 27 April 1973, 474.
Vendler, H. Review of THE FALL OF AMERICA. NEW YORK TIMES, 15 April 1973, 1.
VILLAGE VOICE. Review of THE FALL OF AMERICA, 18 June 1974, v.19, p.27.
Yenne, Bill. "Viewing the Apocalypse." Review of THE FALL OF AMERICA. CITY MAGAZINE, July-August 1973, v.2, n.10, p.41.
REVIEWS OF THE GATES OF WRATH (1972):Brodey, Jim. "Ginsberg in His Twenties: A Thrilling Precision." Review of THE GATES OF WRATH. CITY MAGAZINE, July-August 1973, v.2, n.10.
CHOICE. Review of THE GATES OF WRATH, September 1973, v.10, p.975.
REVIEWS OF IRON HORSE (1972):Grant, Barry. "The Machine in the Desert." Review of IRON HORSE. ETHOS, 18 July 1974, v.8, n.6, p.9-10.
KLIAT (Paperback Book Guide). Review of IRON HORSE, September 1974.
REVIEWS OF ALLEN VERBATIM (1974):AMERICAN LITERATURE. Review of ALLEN VERBATIM, March 1975, v.47, p.143.
BEST SELLERS. Review of ALLEN VERBATIM, 15 December 1974, v.34, p.409.
BOOK WORLD, (WASHINGTON POST), Review of ALLEN VERBATIM, 1 December 1974, 2.
BOOKLIST, Review of ALLEN VERBATIM, 1 February 1975, v.71, p.542.
Brinkmeyer, Robert. "Ginsberg Weathers Test of Time Better Than Passive Types," Review of ALLEN VERBATIM, by Allen Ginsberg. HERALD (Durham, NC) 26 January 1975.
Brinnin, John Malcolm. "The Theory and Practice of Poetry." Review of ALLEN VERBATIM, by Allen Ginsberg. NEW YORK TIMES BOOK REVIEW, 2 March 1975, 4-5.
CHOICE. Review of ALLEN VERBATIM, March 1975, v.12, p.72.
Crosby, K.P. "The Beat Generation Poet in Prose." Review of ALLEN VERBATIM, by Allen Ginsberg. 9 January 1975, 13.
Dandridge, Ned. "On the Road with Allen, VERBATIM." Review of ALLEN VERBATIM, by Allen Ginsberg. NEWS AND OBSERVER, (Raleigh, NC), 26 January 1975.
Ford, Miachael C. "Ginsberg: Tapes of Satori and a Guru on the Run." Review of ALLEN VERBATIM, by Allen Ginsberg. LOS ANGELES FREE PRESS, 28 February 1975.
"Ginberg Comments." Review of ALLEN VERBATIM, by Allen Ginsberg, TIMES-PICAYUNE, 23 March 1975.
KIRKUS. Review of ALLEN VERBATIM, 1 July 1974, v.42, p.716; 1 July 1974, p.818.
LIBRARY JOURNAL. Review of ALLEN VERBATIM, September 1974, v.99, p.2067.
Metro, Jim. Review of ALLEN VERBATIM, by Allen Ginsberg. ADVERTISER AND ALABAMA JOURNAL, 19 January 1975.
N. "Today's Books." Review of ALLEN VERBATIM, by Allen Ginsberg. INDEPENDENT/PRESS-TELEGRAM, 25 March 1975, p.B3.
Offen, Ron. "Poetry Beat," Review of ALLEN VERBATIM, by Allen Ginsberg. CHICAGO DAILY NEWS, 28 December 1974.
PUBLISHERS WEEKLY. Review of ALLEN VERBATIM, 13 October 1975, v.208.
Schoen, John E. Review of ALLEN VERBATIM, by Allen Ginsberg. THE LITERARY TABLOID, April 1975, v.1, n.2, p.27.
Seelye, John. "The Sum of '48." Review of ALLEN VERBATIM, by Allen Ginsberg. NEW REPUBLIC, 12 October 1974, v.171, v.15, issue 3118, p.23-24.
VILLAGE VOICE. Review of ALLEN VERBATIM, 2 December 1974, v.19, p.41.
Williams, Richard. Review of ALLEN VERBATIM. CAROLINA QUARTERLY, Spring/Summer 1975, v.2, n.2, p.113.
REVIEWS OF THE VISIONS OF THE GREAT REMEMBERER (1974):VILLAGE VOICE. Review of THE VISIONS OF THE GREAT REMEMBERER, 10 October 1974, v.10, p.33.
REVIEWS OF FIRST BLUES (1975):Lally, Michael. "Ginsberg's Songs and Other Delights." Review of FIRST BLUES: RAGS, BALLADS, AND HARMONIUM SONGS, 1971-1974. THE WASHINGTON POST, 8 February 1976, G6.
Ratner, Rochelle. "Christmas Poetry." Review of FIRST BLUES. SOHO WEEKLY NEWS, 25 December 1975.
Saroyan, Aram. "New Collections by Allen Ginsberg, Edwin Denby and Joe Brainard Lend Presitge to Little Known Press." Review of FIRST BLUES. VILLAGE VOICE, 15 August 1975, 30.
"Soho's/Hot Spots." Review of FIRST BLUES. SOHO WEEKLY NEWS, 15 January 1976.
REVIEWS OF SAD DUST GLORIES (1975):Miller, Brown. "Leaving Things Alone." Review of SAD DUST GLORIES. SMALL PRESS REVIEW, December 1977, 5.
Weistein. Review of SAD DUST GLORIES. WESTERN AMERICAN LITERATURE, v.XI, n.2.
REVIEWS OF TO EBERHART FROM GINSBERG (1976):Carruth, Hayden. "A Letter for Poets," Review of TO EBERHART FROM GINSBERG. BOOKLETTER, 11 October 1976, 7.
Glass, Jesse Jr. Review of TO EBERHART FROM GINSBERG. NORTHCAST RISING SUN, July 1977, 19.
LIBRARY JOURNAL. Review of TO EBERHART FROM GINSBERG, 1 January 1977, v.102, 109.
REVIEWS OF AS EVER (1977):Curley, Arthur. Review of AS EVER, by Allen Ginsberg and Neal Cassady. LIBRARY JOURNAL.
Herschman, Marcia. "Short Takes." Review of AS EVER, by Allen Ginsberg and Neal Cassady. BOSTON SUNDAY GLOBE, 1 January 1978.
REVIEWS OF JOURNALS: EARLY FIFTIES, EARLY SIXTIES (1977):Abhishaker, M.J. "Allen Ginsberg and the 'Middle Way of the Buddha.'" Review of JOURNALS. MINNEAPOLIS TRIBUNE, 27 November 1977, 180.
Bender, Donald. "The bookshelf 'Journals' has 'gems' among the 'tedious.'" THE INDEPENDENT GAZETTE, 9 September 1977, 13.
BOOKLIST. Review of JOURNALS, 1 November 1977, 451.
Craig, Paul. "Poetry/Memory Lane Looks a Lot Like Old North Beach." Review of JOURNALS. SACRAMENTO BEE, 18 September 1977.
Dachslager, E.L. "Remember Moondog?" Review of JOURNALS. THE HOUSTON POST, 20 November 1977.
Davis, L.J. "A Beat Idol Past His Prime." Review of JOURNALS. CHICAGO TRIBUNE, 18 September 1977.
DeGregori, Thomas R. "Ginsberg's Journals." Review of JOURNALS, by Allen Ginsberg. HOUSTON CHRONICLE, 18 September 1977, 17.
Desilets, E. Michael. "Poet Allen Ginsberg Conjurer of Images." Review of JOURNALS. THE NEW HAVEN REGISTER, 9 Fenruary 1978.
Elman, Richard. "Books and The Arts/Beyond Self-Absorption." Review of JOURNALS. THE NATION, 12 November 1977, 500-501.
Goshorn, Gayle. "Notes from an Original Hipster." Review of JOURNALS. IOWAN.
Hayes, E. Nelson. "At Last, Ginsberg Flourishes," Review of JOURNALS. PATRIOT LEDGER, 5 January 1978, 32.
Herman, Jan. "'Journals' Juicy But Incomplete." Review of JOURNALS. THE BURLINGTON FREE PRESS, 14 November 1977.
Kostelanetz, Richard. Review of JOURNALS, by Allen Ginsberg and THE BEAT DIARY, by Arthur and Kit Knight. THE NEW REPUBLIC, 22 October 1977, 33-35.
Krim. "From Allen Ginsberg's Head to the Pad Beside His Bed." Review of JOURNALS. VILLAGE VOICE, 26 September 1977, 45.
Long, Robert Emmet. "Books/Ginsberg's 'Journals' of a Voyager Life; As Much as Kerouac's 'On the Road,' the 'Journals' Have a Manic Open-ended Jazz Beat." Review of JOURNALS. SYRACUSE NEW TIMES, 8 January 1978, 6.
"Mile. What's Choice." Review of JOURNALS. MADEMOISELLE, December 1977, 20.
Maves, Karl. Review of JOURNALS. THE ADVOCATE, 16 November 1977, n.228, p.28.
Messerli, Douglas. "Book of the Day/Allen Ginsberg: a Maturer Voice." Review of JOURNALS. NEW YORK POST, 12 October 1977.
Messerli, Douglas. "The Making of Allen Ginsberg." Review of JOURNALS. WASHINGTON POST BOOK WORLD, 2 October 1977.
Murphy, Avon Jack. Review of JOURNALS. THE GRAND RAPIDS PRESS, 23 October 1977, 2-F.
Patnaik, Debra P. "Allen Ginsberg's JOURNALS: The Myriad Mind of a Man." Review of JOURNALS. THE COURIER-JOURNAL, 8 January 1978, 5.
PUBLISHER'S WEEKLY. Review of JOURNALS, 7 September 1977.
Simon, Jeff. "Ginsberg 'Journals' Take Reader on a Wild Journey with Poet." Review of JOURNALS. BUFFALO EVENING NEWS, 8 October 1977.
Simpson, Louis. Review of JOURNALS. NEW YORK TIMES BOOK REVIEW, 23 October 1977, section 7, p.9, 46-47.
Spearman, Walter. "'Journals' Reflects Author's Diversity. DURHAM SUN, GREENSBORO RECORD, SOUTHERN PINES PILOT and ROXBORO COURIER-TIMES.
Strachan, Don. "Following in Whitman's Footsteps." Review of JOURNALS. LOS ANGELES TIMES, 1977, 18.
Stuttaford, Genevieve. "Publisher's Weekly Interviews: Allen Ginsberg." Review of JOURNALS. PUBLISHER'S WEEKLY, 14 November 1977, 6-7.
Thompson, Francis J. "Perhaps Discretion Would Be Better." Review of JOURNALS. TAMPA TRIBUNE.
Trexler, Connie. "Poet's Presence Obvious, Unavoidable." Review of JOURNALS. ADVERTISER AND ALABAMA JOURNAL, 30 October 1977.
Contributed by Sherri