Allen Ginsberg

Born on this date in 1926 💯

I achieved Ginsberg awareness at a young age as I was attending one of the many protests in Washington DC in the 1970s. My friend Jenny gifted me a copy of a copy of The Fall of America in high school. I still own that copy. Over the years I read more of his work and filmed much of the City Lights archive here at UC Berkeley. It’s his essay in the Berkeley Barb that influenced the coining of the term Flower Power that has always resonated with me the most. The use and awareness of flowers and as a revolutionary tool. More importantly, the use of natural beauty to spread love. His words have influenced me to plant a yearly tulip garden in the Patricia Hearst Meadow every year.

Flowers are holy

Everything is holy.

On November 19, the Berkeley Barb published his essay, Demonstration Or Spectacle As Example, As Communication Or How To Make a March/Spectacle. “Masses of flowers — a visual spectacle — especially concentrated in the front lines. Can be used to set up barricades, to present to Hell’s Angels, police, politicians, and press and spectators whenever needed or at parade’s end … Marchers should bring crosses, to be held up in front in case of violence; like in the movies dealing with Dracula …

Ginsberg’s vision of using masses of flowers in antiwar protest was perhaps his most influential meme, though the phrase “flower power” itself does not appear in his essay. One of the earliest known appearances of the actual term is the Flower Power Day rally organized in May 1967 by Abbie Hoffman, the activist who co-founded the radical street theatre group the the Yippies with Jerry Rubin. Hoffman may have been combining Ginsberg’s flower concept with the phrase Black Power, which Stokely Carmichael popularized in 1966

Sunflower Sutra

I walked on the banks of the tincan banana dock and sat down under the huge shade of a Southern Pacific locomotive to look at the sunset over the box house hills and cry.

Jack Kerouac sat beside me on a busted rusty iron pole, companion, we thought the same thoughts of the soul, bleak and blue and sad-eyed, surrounded by the gnarled steel roots of trees of machinery.

The oily water on the river mirrored the red sky, sun sank on top of final Frisco peaks, no fish in that stream, no hermit in those mounts, just ourselves rheumy-eyed and hung-over like old bums on the riverbank, tired and wily.

Look at the Sunflower, he said, there was a dead gray shadow against the sky, big as a man, sitting dry on top of a pile of ancient sawdust—

—I rushed up enchanted—it was my first sunflower, memories of Blake—my visions—Harlem

and Hells of the Eastern rivers, bridges clanking Joes Greasy Sandwiches, dead baby carriages, black treadless tires forgotten and unretreaded, the poem of the riverbank, condoms & pots, steel knives, nothing stainless, only the dank muck and the razor-sharp artifacts passing into the past—

and the gray Sunflower poised against the sunset, crackly bleak and dusty with the smut and smog and smoke of olden locomotives in its eye—

corolla of bleary spikes pushed down and broken like a battered crown, seeds fallen out of its face, soon-to-be-toothless mouth of sunny air, sunrays obliterated on its hairy head like a dried wire spiderweb,

leaves stuck out like arms out of the stem, gestures from the sawdust root, broke pieces of plaster fallen out of the black twigs, a dead fly in its ear,

Unholy battered old thing you were, my sunflower O my soul, I loved you then!

The grime was no man’s grime but death and human locomotives,

all that dress of dust, that veil of darkened railroad skin, that smog of cheek, that eyelid of black mis’ry, that sooty hand or phallus or protuberance of artificial worse-than-dirt—industrial—modern—all that civilization spotting your crazy golden crown—

and those blear thoughts of death and dusty loveless eyes and ends and withered roots below, in the home-pile of sand and sawdust, rubber dollar bills, skin of machinery, the guts and innards of the weeping coughing car, the empty lonely tincans with their rusty tongues alack, what more could I name, the smoked ashes of some cock cigar, the cunts of wheelbarrows and the milky breasts of cars, wornout asses out of chairs & sphincters of dynamos—all these

entangled in your mummied roots—and you there standing before me in the sunset, all your glory in your form!

A perfect beauty of a sunflower! a perfect excellent lovely sunflower existence! a sweet natural eye to the new hip moon, woke up alive and excited grasping in the sunset shadow sunrise golden monthly breeze!

How many flies buzzed round you innocent of your grime, while you cursed the heavens of the railroad and your flower soul?

Poor dead flower? when did you forget you were a flower? when did you look at your skin and decide you were an impotent dirty old locomotive? the ghost of a locomotive? the specter and shade of a once powerful mad American locomotive?

You were never no locomotive, Sunflower, you were a sunflower!   

And you Locomotive, you are a locomotive, forget me not!

So I grabbed up the skeleton thick sunflower and stuck it at my side like a scepter,

and deliver my sermon to my soul, and Jack’s soul too, and anyone who’ll listen,

—We’re not our skin of grime, we’re not dread bleak dusty imageless locomotives, we’re golden sunflowers inside, blessed by our own seed & hairy naked accomplishment-bodies growing into mad black formal sunflowers in the sunset, spied on by our own eyes under the shadow of the mad locomotive riverbank sunset Frisco hilly tincan evening sitdown vision.

 Allen Ginsberg

Berkeley, 1955

Berkeley sunflower / Robert Byler