Introduction
In the poems Howl and America, Allen Ginsberg implies that the relationship between subjectivity and ideology is constructed through the narrative in terms of the language, cultural, economic and political structures that are created to be used.
Ideology closely to the principle of subject in that a man is by nature, an ideological animal so that they use ideology to define themselves as humans. ‘People as the subjects develop their own ideology while such ideology makes them subjects’ (Bennett & Royle, 2016). Subject is an important term in this respect since it makes one to critically pay attention to means in which “I” has no autonomy and considering that in reality its existence in a form of vacuum (Bennett & Royle, 2016). In this case, “me” will always be subjected to forces and its effects are felt on the outside factors including environment, cultural, economic, social and even education. A person becomes a subject in terms of being subjects to other people who controls him or on whom he depends. On the other hand, the implications of the “subject” idea are significant since it ideology relates to a person’s internal identity regarding how he thinks about himself as a subject (Bennett & Royle, 2016).This idea of personal perception as subjects is clearly outlined in the “Howl” which is presented as a loud poem that has unsettling imagery where people prefer their individuality and life energy that defies any conformity including blending in. This happens after they can no longer condone social oppression so that they eventually start crying against the system.
The poet also illustrates a self-destructive generation by repeatedly questioning the question of subjectivity especially in relation Moloch, the generation itself and in regard to the generation’s own mental alienation. In regard to the aforementioned outside factors, the poem is set in a transition period, between the modern culture and the postmodern world. The modern cultural aspect relates to self-fragmentation where subjectivity is de-centered, and a person as subject is deconstructed so that this deconstruction at a personal and then society level and eventually at the metaphysical level (Călin, 2016). This regards the setting of this poem. In addition, the social and personal appears to be one thing which is a revelation of the Poet’s idea of the modern culture. The poet’s deconstructs the universe metaphysically which forms the center of a new freedom and this leans towards elimination of subjectivity. The freedom relates to the changing ideology among the characters in the poem like Solomon, who become totally free and denounces the narratives that have been imposed on them by exterior forces. If the political and cultural consequences through which Ginsberg is defining the postmodern culture, where the individual becomes liberal in terms of sex and culture, is accepted , it would mean an effective acceptance of the poet’s demolition of subjectivity in form of government bureaucracy , social institutions and the narrative symbolized by Moloch (Călin, 2016).
The Poet’s Howl can be seen as exploring the subjectivity politics in their simplistic form, especially once his sexuality discussion touches on liberation and rebellion. The Howl indicates a level of tension resulting from the issue of homosexuality and queer discourses. Ginsberg seems to have taken delight in a gay culture that was viewed as painful and disgusting sex act that was also punishable, and this relates to ideology in that it involves the twisting and reinterpretation of homosexual male identities that were present during that period (Van Engen, 2012). When the characters in the poem shriek or howl due to pleasure in any place including rooftops, police cars and subways, they are shown to reiterate an image of their masculinity (gay masculinity) in a manner that is not painful but perverse. The gay identity is constructed in a queer homophobic manner, when it is refigured as a moment of pleasure though considered perverse and painful. While the psychiatric hospital scene in Howl does not particularly mention queers, it alludes to it by creatively cites the psychiatric patients by referring to them as present gay-male identity since in these periods, insane was a connotation for homosexuality (Van Engen, 2012). It is queer that even though thus hospital was supposed to be a place of stigma and discipline, it turned out to be an erotic place in the poem. “over the roof they’ve come to drop angelic bombs the hospital illuminates itself imaginary walls collapse O skinny legions run outside O starry-spangled shock of mercy the eternal war is here O victory forget your underwear we’re free” (Ginsberg, 2008). The line at first appears as if the characters were escaping from the constraints of the hospital, but the poet’s “run outside” imperative involves an assumption that the pathological homosexuality “ outside” is yet and may never occur. It uses the walls as imagery for constraints where the subjects remain stuck in appreciation of gender normativity (Van Engen, 2012). In addition, the phrase “eternal war” indicates that the difficulties are continual, and a tremor is sent through the walls of the hospital so that intimacy between the men is limited. However , the changing ideology among these men in terms of their sexuality makes intends to make them no longer subjects of hetero-normativity so that they city is transformed into a place that is more livable but queer.
The issue of ideology and subjectivity as implied in the poem ‘America’ relates to how the society and culture of the country made people its subjects. The poem represents the status of Ginsberg as a positive rebel to America shown to be a war monger. The ideal society as America is represented is challenged in this case especially in relation to the effort to make the world to be subject to its ideology. The transgression that America has perpetrated makes this lyrical subject to desire to be a saint and through his poetry he wishes to positively rebel. In this case, his ideology seems to differ with the American one and he is initially being seen as supporting the Marx’s writing as part of the rebellion (Posman, 2014). On the other hand, Ginsberg presents himself as a great Time Magazine reader which implies the infiltration of the country’s culture in his life. The limitation of “self” (me) are removed which leads to a vicarious experience. The Poet then finally comes back to his own identity and person and thus “wants to take our cars from out our garages” (Ginsberg, 2008). In this phrase, the poet is engaging with the conventional suburban needs for commodities and the country’s wealth reification, but then there is Russian threat that would see them contentedly destroy the comfort enjoyed by the modern America. At the start of the Poem, Ginsberg seems to be dissatisfied with the consumerism ideology of the American economy, which has held him subject to the contemporary culture. In the phrases “I am sick of your insane demands” the poet alludes to the fact that he has been a subject to the conventional way of life and the circumstances and wants to be free of them (Ginsberg, 2008).
In a defiant attitude Ginsberg, wants to depart from the boundaries that anti-communism has engulfed him. He creates a character who has been dejected, and willing opposes the idea adopted by America in regard to the war policy. He does this in a manner that is inflammatory so that the challenge seems to come specifically from him. The individual identity comes into play in this case, and the use of “I” enables the poet to express clearly his stand on the issues facing America. “I” in literature show how the ideas and even question of the personal identity (Posman, 2014). Literature is seen as an institution that “allows one to say everything, in every way” (Bennett & Royle, 2016). In America, the individual identity of the poet enables him to embrace the role of addressing the problems being faced by America even though his dedication is only indicated in the last lines. At the end of the poem the authoritative and open “I” poses the question; “America this is the impression I get from looking in the television set. America is this correct?” (Ginsberg, 2008). The situations in which the poet finds himself in lead to the questioning of the anti-communism ideology and the military and political policies adopted by America. There is a direct conflict between the country and the queer citizen that is focused on at the end of the poem.
Conclusion
Howl explores a new way in which insight can be gained, by opening a way in which subjectivity and ideology are related through a narrative. In American ideology is seen as leading to subjectivity.
References
Bennett, A., & Royle, N. (2016). An introduction to literature, criticism and theory. Routledge.
Ginsberg, A. (2008). Other Poems. Twentieth-Century American Poetry, 219.
Călin, Ș. A. (2016). Howl and the Postmodern Subjectivity. Annals of the University of Bucharest-Philosophy Series, 63(2).
Van Engen, D. (2012). Howling Masculinity: Queer Social Change in Allen Ginsberg’s Poetry. In Gender, Sexuality and Urban Spaces: Conference 2011, Working Papers Collection (pp. 1-15).
Posman, S. (2014). What are you if not beat?–An individual, nothing. They say to be beat is to be nothing (Doctoral dissertation, Ghent University).
