A Poetic Plunge into Moloch

Comprised of three parts, "Howl and Other Poems" was published in 1956. Because of the numerous references to illicit drugs and unorthodox sexual practices, both homosexual and heterosexual, "Howl" was subsequently accused of being obscene by U.S. customs. It is partially because of these traits I find Ginsberg's poem so endearing. More so, I love "Howl" because of how eloquently Ginsberg portrays his generation, his city, his relationships, and his musings. Part II, however, is my favorite.

In Part II, Ginsberg contrived a dismal characterization of the industrial city around him through the heavy use of symbolism and metaphors. This portion of "Howl" was immensely inspired by peyote, a hallucinogenic substance that caused Ginsberg to perceive a particular conglomerate of buildings as menacing. Ginsberg manifested his warped visions in Moloch.

Introduced as a “sphinx of cement and aluminum” (1), Moloch is an ancient god that demanded its worshippers burn their children as a sacrifice. Ginsberg chose this historical figure as his subject because it represents the capitalistic, industrial, corrupt, oppressive, mechanistic and deteriorating institutions that plague our society.

Having always identified with the ideals of communism, Ginsberg was naturally critical of the detrimental effects capitalism has on society. This is evident in lines 8 through 15.

“Moloch the incomprehensible prison! Moloch the crossbone soulless jailhouse

and Congress of sorrows! Moloch whose buildings are judgment! 
Moloch the vast stone of war! Moloch the stunned governments!”

These lines refer to heartlessness of our governmental and economic systems. Ginsberg uses “jailhouse” in two senses: literally, many are cast into jail for petty deviance. In a way, Ginsberg is lamenting their unjustified incarceration. “Jailhouse” also refers to the entrapping nature of our system. We are all caught in Moloch, in the buildings, in the machinery and in the hamster wheel of senseless societal contributions—contributions that, in the end, only further empower Moloch to ruin the lives of others.

In lines 29 and 30, “They broke their backs lifting Moloch to Heaven! Pavements, trees, radios, / tons! lifting the city to Heaven which exists and is everywhere about us!” Ginsberg is asserting that through rampant industrialization, society has created desecrated the planet in the attempt of obtaining a divine civilization.

With his colorful vocabulary, powerful imagery, incessant use of repetition, Ginsberg drives home the point that Moloch is an omnipresent force—one of which we are all a part. Ginsberg even admits, in lines 20 and 21, “Moloch who entered my soul early! Moloch in whom / I am a consciousness without a body!” that he has fallen victim to the overwhelming powers of Moloch. It is through this admittance, the reader can derive that Ginsbergs’ dramatic pessimism is not to be taken lightly.

Part II of “Howl” is anything but cheerful. Regardless, Allen Ginsberg, remains one of the most iconic poets of the 20th century. He painted a bleak portrait of contemporary society that has affected readers around the globe. As a result, he has inspired many, including myself, to combat Moloch through free-thought, humanistic compassion, and political awareness.

For these reasons, among countless others, Part II of Howl is one of my favorite excerpts in all of poetry.