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ALLEN GINSBERG (1926-1997) HAD GREAT AND WIDESPREAD influence in the nineteen fifties to seventies as a leader of "The Beats." He was their eloquent bard, especially through Howl & Other Poems (1956) and Kaddish and Other Poems (1961). In 1984, when the popularity of the unorthodox "movement" was waning, the publication of his Collected Poems 1947-1980, a densely printed, mammoth volume, containing notes and indices (with over a dozen ignored references to Poe) gave a renewed vigor to his reputation. Even among academic critics and their readership, he was regarded as an outstanding American poet, sought here and throughout the world for readings, recordings, interviews, press releases on controversial issues, television conferences, and verse contributions to journals.[1] Even formerly lukewarm or hostile commentators found creditable features in his unconventional, vividly uninhibited poems about social, political, and sexual conduct and action. Only a small group of conservative critics[2] have continued to denounce his work and life style as subversive of decency, normality, and sound values, especially in the effect upon youth. By contrast, a large Festschrift of 1986 provided a gathering of accolades from prominent writers, including Kenneth Koch, Kurt Vonnegut, Yevtushenko, Kay Boyle, John Hollander, and dozens more.[3] With his death on April 5, 1997, there came a new avalanche of tributes and encomia, still too fresh in our minds to need mention here.[4] In May 1998, 2,500 disciples and curious citizens thronged the Cathedral of St. John The Divine to hear a dozen singers, poets, and chanters in a program honoring Allen.
For balanced and analytic judgments of the chief merits in his work along with the accepted major sources, I give observations of two respected critics. Helen Vendler, in her book The Music of What Happens, writes: "an original voice in American poetry, helping to change public consciousness ... His verbal wit has a keen edge of social