Showing posts sorted by date for query GINSBERG HOWL. Sort by relevance Show all posts
Showing posts sorted by date for query GINSBERG HOWL. Sort by relevance Show all posts

Friday, March 20, 2026

Little Big Brother at The Carlisle: Censorship at San Francisco Senior Living Facility

March 20, 2026

Life in senior communities has been dissected in two recent shows: Man on the Inside with Ted Danson and The Thursday Murder Club starring Helen Mirren. They have not described the kind of censorship I have experienced at The Carlisle in San Francisco, a city known for  free speech ever since Lawrence Ferlinghetti published Allen Ginsberg’s poem Howl and Judge  Clayton Horn ruled that it was not obscene.

I thought that my experiences with censorship had ended after I retired from Sonoma State University where the president of the school aimed to censor the student newspaper. As the faculty adviser who taught a course on libel, privacy and copyright, I was cast as the fall guy and refused to fall. When I moved to The Carlisle in San Francisco and inherited the position of editor for the residents’ monthly newsletter I discovered that a local version of Big Brother was watching me and the publication. Ouch!

n the Sixties when I wrote for the underground press I took the pen name Jomo. Now I edit and write uder the name Jojo. For a year or so I encountered zero issues with management. Then a new executive director took over and decided he had the authority to act as the censor of the newsletter. He objected to the comments by one of the concierges who complained about the treatment of Black people in Minneapolis. I published her comments uncensored and in a headline described her as “Black and Beautiful.”

The executive director told me “there are no Black people in Minneapolis.” When I asked him what he would do if I didn’t go along with his plans, he said he would “get rid of me and hire someone else to edit the newsletter. “ At that point I censored myself and cut the sentences that offended him. They would have appeared in the March 2026 issue. I would not do that again. Self-censorship is the worst kind. The author or creator does the dirty work of the censor.

When I gave fellow residents news about the executive director, they were incensed. One resident said, “we pay thousands of dollars to live here. We should enjoy freedom of speech and the press.”

An employee at The Carlisle does the layout and design and makes about 100 copies on the copier and puts one in the open mail slot for each and every resident. A retired UC Berkeley professor proofreads. Mostly, residents approve of the newsletter, though they often ask for more news about The Carlisle and less news about the world beyond. Recently, I’ve been asked to publish more articles about longtime residents, not new arrivals. Fair enough.

Under California Health & Safety Code § 1569.269, residents in care facilities for the elderly have “personal rights” protected by state law. They have the right to be free from “interference, coercion, discrimination, and retaliation.” They also have the right to organize, and the right to “uncensored” freedom of communication.

Jill Ellison, the membership and volunteer coordinator at San Francisco Village, a community for seniors, assured me that elders in senior living facilities enjoy the same freedoms accorded citizens in the society at large. That’s how it should be, though censorship has increasingly become a part of the cultural climate in the US. So, I’m not surprised that the executive director at The Carlisle, a little Big Brother, wanted to control the content of the newsletter and use it as a “marketing tool.”

I’m working on the April issue now. This time around I probably won’t cut any content that the executive director dislikes unless it’s blatantly libelous or an egregious invasion of privacy. He never hired me, so he can’t fire me, and if he assumes control of the newsletter, he’ll have to do the work himself. Then no one will want to read it. The residents are already put off by the weekly emails he sends out in which he says how much he does and will do for them and how wonderful they are. That’s the iron fist inside a velvet glove. No thanks.

Jonah Raskin is the author of Beat Blues, San Francisco, 1955.

Tuesday, January 27, 2026

Deborah Baker Revisits Allen Ginsberg’s India Years at Exide Kolkata Literary Meet

At the Exide Kolkata Literary Meet, American biographer Deborah Baker spoke to Outlook on Allen Ginsberg’s relevance and what he took to the US from India


Sreemanti Sengupta
Updated on: 26 January 2026 
THE OUTLOOK INDIA


Deborah Baker Photo: Sandipan Chatterjee

Summary of this article

Deborah Baker discussed her book on Allen Ginsberg’s travels and experiences in India at the Exide Kolkata Literary Meet.

Ginsberg formed lasting ties with poets in Kolkata, shaping his connection with India.

His visit during the Bangladesh Liberation War inspired the poem September on Jessore Road, later recorded with Bob Dylan.


Q


The western world has always had a stereotypical view about India, as a land of snake charmers, elephants and sadhus. In what way do you think Ginsberg changed how the West looks at the East?

A


I don't think America thought much about India. India was not as pleasant as the UK. India’s image was mainly painted by the English. How many American poets had come to India before Ginsberg? Very few. India was not in their imagination. That came much later and, maybe, Ginsberg had a part to play with that. In the 60’s the Beatles came, and that really opened up ideas about India. Martin Luther King was deeply engaged with India on how they got their freedom, especially the Gandhian ideologies. With Ginsberg, I think a lot of Indian literature came to America.

Q


Do you think his diaries and notes go beyond the superficial images that western media has about India?
A


There's not much India in this India Diaries. He is not writing about what he's seeing, he's writing about what he's dreaming…and he is dreaming about his friends in New York.
Q


What kind of legacy does he leave behind in American and Indian literature?
A


People don't study him in colleges, they find him on their own. And I think it is important to know that…because it's part of his appeal, that he is not fed to them via their professors. Allen was anxious about this, he wanted to be praised by the academic world. Kerouac and Burroughs were outsiders, too. And it is important for young people to discover them on their own. It was also how I discovered Kerouac.


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Q


How do you see the relevance of Ginsberg’s work in the world today?
A


I don't think he had the ambition to be an enduring influence. He was a poet who had a great honesty about himself. He had a great sense of humour. He had a lot of pain, anxiety, and fear, but he was never afraid to own the fact that he was gay. He thought marijuana should be legalised, he was also always trying to figure out what the ‘soma’ (intoxicant names in Vedic texts) was. He had this long correspondence with the mythologist R. Gordon Wassom where he thought he could obtain information about mushrooms. There are many sides to him.

Q


Ginsberg had an extended tryst with spirituality. He claimed to have seen God in 1948. Was there anything other than spirituality and drugs that drove him to this extended India tour?
A


He wanted love. He wanted a Godman he could love…a guru where there would be real love.
Q


What insights did your research reveal about Kolkata poets’ mutual influence on Ginsberg's development?
A


They were very secular…communists or socialists. Allen was very keen to talk politics…his father was a communist. He wanted to know about their lives, their struggles. I think they were like a Bengali version of who he had been while at Columbia University.

Q


He was not in good health during his travels. You mentioned his kidney condition, which caused frequent urination. He was also staying in remote places with very limited facilities. How do you think these experiences affected him?
A


It's interesting. As a Beat poet, he kept himself well maintained. He always went to the barber, carried a pocket handkerchief, and wore a suit. The Beats were very different from the hippies. He came to India and he absorbed the aesthetics of jhola bags, sandals, beads, salwar kameez…and that became the form of the hippies. He came to India and had a physical transformation…he grew out his hair, he started losing hair, he almost looked like a sadhu.


It is also important to say that he spent time with the Gandhians… he was in India when the Indo-China war (1962) broke out. He spent some time on the road, marching with (the Vinoba Bhave-led) Gandhians in a planned journey from Delhi to Beijing (which ended after the Chinese government refused the marchers entry). The idea that politics could be a performance was very impactful for him.

When he returned to America, the country was involved in the Vietnam War, he brought back the power to lead and organise anti-war protest events like the “levitation of Pentagon”. He brought flowers for soldier’s rifles, and he chanted OM in the middle of a riot. So, his takeaway from India included his pro-peace politics.

Q


Hope Savage is a very present and absent character in your book. She is like the archetypal muse… for Corso and Ginsberg. Though Ginsberg wasn’t directly misogynist, he did not seem interested in women and did not write for them or promote them…
A


I don't think it was his job to do that. He was a poet; he must go where his heart pulls him. His heart led him to Kolkata, he was invested in it, and did what he could for the Kolkata poets. I think it's a mistake to expect everything from a man. He didn't do much for the blacks either, though the poet Amiri Baraka was a close friend of his, he was not directly involved with the civil rights movement.


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Q


I am saying this from the perspective of the general beat attitude towards women - objectifying them or not treating them as equal poets.
A


Yes, in that sense, he was very much a product of that time.
Q


How did you decide the style of writing ‘A Blue Hand’?
A


My sources were mainly his letters and diaries. He was not a great prose stylist; he was not interested in prose. If you see his journals, you will see how he skipped around… just observing and writing down details. Jessore road is basically one detail after another Also, it's not really a poem; he wrote it as a song. So, I tried to make it as coherent as possible for readers to understand Ginsberg through my writing.
Q


How did you balance the non-fiction narrative and the fictional storytelling style so that people are transported to the 60s with you, in a real way.
A


Non-fiction can do a lot of storytelling. In India, you may not be as exposed to creative non-fiction. The academic non-fiction is more about ideas, my books are more about people.
Q


Do you think if Howl was published today with its heavily obscene content, would it make the same impact?
A


I don't know. I think it might be pulled off the shelves today.


Q


What do you think Ginsberg would say about the right wing-ruled India today?
A


(Laughs) So, you want to get me into trouble? I think he would be very discouraged. The same way he felt when India went all militant against China. Overnight he saw the peaceful, spiritual Indians become raging anti-China demonstrators. He was disillusioned.
Q


What about Ginsberg in America today? I imagine to be a poet like him in this climate of global rise of the right wing would be suffocation.
A


He would have found a way. I wish we had someone like him now.


Sreemanti Sengupta is a poet and freelance writer
















December 17, 1971

On Jessore Road
By ALLEN GINSBERG

Millions of babies watching the skies
Bellies swollen, with big round eyes
On Jessore Road-long bamboo huts
Noplace to s--- but sand channel ruts

Millions of fathers in rain
Millions of mothers in pain
Millions of brothers in woe
Millions of sisters nowhere to go

Millions of Souls nineteen seventy-one
homeless on Jessore under grey sun
A million are dead, the millions who can
Walk toward Calcutta from East Pakistan

Wet processions Families walk
Stunted boys big heads don't talk
Look bony skulls & silent round eyes
Starving black angels in human disguise

Mother squats weeping and points to her sons
Standing thin legged like elderly nuns
small bodied hands to their mouths in prayer
Five months small food since they settled there

On one floor mat with a small empty pot
Father lifts up his hands at their lot
Tears come to their mother's eye
Pain makes mother Maya cry

On Jessore road Mother wept at my knees
Bengali tongue cried mister Please
Identity cards torn up on the floor
Husband still waits at camp office door

Baby at play I was watching the flood
Now they won't give us any more food
The pieces are here in my celluloid purse
Innocent baby play our death curse

Breaking the line and jumping in front
Into the circle sneaks one skinny runt
Two brothers dance forward to Play hungry Tricks
The guards blow big whistles & wave bamboo sticks

The man in the bread door Cries & comes out
Thousands of boys & girls Take up his shout
Is it joy? is it prayer? "No more bread today"
Thousands of Children at once scream Hooray!

Border trucks flooded, food can't get past,
American Angel machine please come fast!
Where is Ambassador Bunker today?
Are his Helios machinegunning children at play?

Where are the helicopters of U.S. AID?
Smuggling dope in Bangkok's green shade.
Where is America's Air Force of Light?
Bombing North Laos all day and all night?

Where are the President's Armies of Gold?
Billionaire Navies merciful Bold?
Bringing us medicine food and relief?
Napalming North Viet Nam and causing more grief?

Where are our tears? Who weeps for this pain?
Where can these families go in the rain?
Jessore Road's children close their big eyes
Where will we sleep when Our Father dies?

Whom shall we pray to for rice and for care?
Who can bring bread to this s--- flood foul'd lair?
Millions of children alone in the rain!
Millions of children weeping in pain!

Ring O ye tongues of the world for their woe
Ring out ye voices for love we don't know
Ring out ye bells of electrical pain
Ring in the conscious American brain

How many children are we who are lost
Whose are these daughters we see turn to ghost?
What are our souls that we have lost care
Ring out ye musics and weep if you dare-

Cries in the mud by the thatch'd house sand drain
Sleeps in huge pipes in the wet s--- field rain
waits by the pump well, Woe to the world!
whose children still starve in their mother's arms curled.

Is this what I did to myself in the past?
What shall I do Sunil Poet I asked?
Move on and leave them without any coins?
What should I care for the love of my loins?

How many souls walk through Maya in pain
How many babes in illusory rain?
How many families hollow eyed lost?
How many grandmothers turning to ghost?

How many fathers in woe
How many sons nowhere to go?
How many daughters nothing to eat
How many uncles with swollen sick feet

Millions of babies in pain
Millions of mothers in rain
Millions of brothers in woe
Millions of children nowhere to go

This is half the poem "September on Jessore Road" written by Allen Ginsberg after visiting West Bengal refugee camps.


Monday, January 19, 2026

Ginsberg’s “America” Revisited


 January 19, 2026



Allen Ginsberg, 1979. Image Wikipedia.

January 1956, Allen Ginsberg wrote: “America I’ve given you all and now I’m nothing.”

It is January 2026. I’m not sure if we’ve given it all as citizens or as a society. Some votes, some taxes, some rants, some protests, but surely not enough.

“Two dollars and twentyseven cents”? Don’t mention to Ginsberg the price of living in this economy.

Sometimes I, too, can’t stand my own mind.

“America when will we end the human war?” he asked. Not yet, Ginsberg, not yet. Nuclear weapons, missiles, drones, assault rifles, wrongful arrests, deportations without due process, homicides, the violence goes on and on.

“I don’t feel good don’t bother me.
I won’t write my poem till I’m in my right mind.”
Ginsberg, it’s simply not possible to be in our right minds anymore.

“America when will you be angelic?” Not angelic yet.
“When will you take off your clothes?” Fully armored still.
“When will you look at yourself through the grave?” That moment feels near, as we seem set on a suicide mission: democracy, foreign affairs, ecology. America First, burning itself down from the inside.

Ginsberg implored, “America why are your libraries full of tears?” But those volumes that contain our tears—genocide, slavery, discrimination, injustice—are now being removed from the shelves across the nation. Instead, the libraries are urged to display books that sing of power, pride, and progress.

“America when will you send your eggs to India?” Don’t get him started on the price of eggs.

Like Ginsberg, so many of us are sick of the insane demands. The ultimatum is: be a white Christian male, or else.

Well, I’m all else.

Ginsberg suspected, “There must be some other way to settle this argument.” There must be. An uprising. A declaration of heart and sanity. Saints against authoritarians. Radical hope against despair. Resilience, no matter what.

“America the plum blossoms are falling.” Then let us sweep the streets.

Ginsberg admitted he hadn’t read the newspapers for months with somebody going on trial for murder every day. Today the killers wear badges: ICE agents and police officers who often evade consequence. White House blames left-wing ideology, not bullets. It’s an old story in America, guns above human lives. All hail the Second Amendment.

Ginsberg predicted that there’s going to be trouble. And troubles followed. Detroit, Los Angeles, Seattle, Ferguson, Standing Rock. In this moment the pulse is in Minneapolis. The unrest feels inevitable, unstoppable. Necessary.

America’s emotional life was run by Time Magazine, Ginsberg lamented. Now there is Fox News, Facebook, X, CNN, morning talk shows, late-night comedy, alternative truths, deepfakes, AI.

It occurs to me that we are all America.
We are talking to ourselves in circles.

Ginsberg observed Asia rising. Oceans are also rising. Greenhouse emissions are rising. Inflation is rising. Unemployment is rising. Death toll is rising. May civilians rise like no other.

“I’d better consider my national resources.” And what are they now, a flag and a Bible? What about civil rights? What about national parks? What about schools, hospitals, museums?

So much for Ginsberg’s “unpublishable private literature that jetplanes 1400 miles an hour and twentyfive-thousand mental institutions.”

He said his ambition was to be President despite being Catholic. Don’t bother Ginsberg. This is a spectacle, nothing more.

“America how can I write a holy litany in your silly mood?”

And though the mood remained silly, even sinister and deceitful, Ginsberg raged on, obscene and luminous, word after word. He howled at America, and so will we:

America, free the immigrants.
America, defend democracy.
America, protect civilians.
America, restore the planet.

“America you don’t really want to go to war.” Please don’t.

“America its them bad Russians.
Them Russians them Russians and them Chinamen. And them Russians.
The Russia wants to eat us alive. The Russia’s power mad.”

But of course, we know Russia is not alone in its appetite to devour everything.
The President of the United States is power mad.
He wants to rule Venezuela.
He wants to claim Greenland.

He wants the Nobel Peace Prize.
He wants his name to crown the Kennedy Center.

He wants a gold-gilded ballroom.

Absolute loyalty. Solely his own morality. A government turned into reality TV. The whole world watching.

“America this is quite serious,” Ginsberg wrote; we ought to agree.

“I’d better get right down to the job,” he declared. And because he didn’t want to join the Army or turn lathes in precision parts factories, he offered, “America I’m putting my queer shoulder to the wheel.”

One poem at a time, 1400 miles an hour. That was his job. His gift to America.
It’s our turn. So I’m putting my immigrant shoulder to the wheel.

Because if not now, when?

Ipek S. Burnett, PhD, is the author of A Jungian Inquiry into American the Psyche: The Violence of Innocence (Routledge, 2020) and the editor of Re-Visioning the American Psyche: Jungian, Archetypal, and Mythological Reflections (Routledge, 2024). Based in San Francisco, she works with nonprofit organizations that specialize in social justice, human rights, and democracy. For more information visit: www.ipek burnett.com


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