In many places there were treated as second class citizens. African-Americans were not accepted into the institutions of society - schools, government, or business. It was a culture that was not accepted by white mainstream America. Here, writing of some of the crazy and debauched acts of his friend Neal Cassady, Ginsberg tells the reader that Cassady 'leaped on negroes.' The line works in two ways because it tells of an actual event in Cassady's life, but it also represents the way in which the Beat poets leaped into African-American culture of the day. The use of African-American culture, especially jazz music, is a crucial point of 'Howl.' Ginsberg references it in the first lines of the Part I, writing of the 'Negro' streets. It is a documentary style of poetry, taking scenes and snippets from Ginsberg's own life and interweaving them with incidents of insanity and anarchy from the lives of his friends. |a Exported from Connexion by Pitkin and loaded with m2btab.b in 2018.The second half of Part I continues with many of the themes of the earlier lives. |a A collection of poems originally published in 1956 by beat generation poet Allen Ginsberg. |a Howl for Carl Solomon : introduction / William Carlos Williams - Howl - Footnote to Howl - A supermarket in California - Transcription of organ music - Sunflower sutra - America - In the baggage room at Greyhound - An asphodel - Song - Wild orphan - In back of the real. |a San Francisco : |b City Lights Books, |c |a Howl : |b and other poems / |c by Allen Ginsberg.

Ginsberg poem howl