Kaddish and Other Poems
| Industry | Publishing |
|---|---|
| Headquarters | San Francisco , United States |
| Products | Books, poetry collections |
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Kaddish and Other Poems 1958-1960 (1961) is a poetry collection authored by Allen Ginsberg, released through City Lights Bookstore.
Background
The centerpiece poem, "Kaddish", also known as "Kaddish for Naomi Ginsberg (1894-1956)", was composed in two segments by Beat Generation poet Allen Ginsberg and initially appeared in Kaddish and Other Poems 1958-1960. This volume was included in the Pocket Poet Series issued by City Lights Books. Within the contents, the poem is listed as "Kaddish: Proem, narrative, hymn, lament, litany, & fugue". Alongside Ginsberg's "Howl", Kaddish is regarded as one of his most significant works.
Ginsberg crafted this piece in memory of his mother Naomi following her passing in 1956; she endured lifelong struggles with mental illness. Naomi experienced numerous psychotic episodes both prior to Allen’s birth and during his childhood. She underwent repeated hospitalizations and treatments including medication, insulin shock therapy, and electroconvulsive therapy. Naomi ultimately died in a psychiatric institution in 1956.
Kaddish in Judaism
The poem’s title, "Kaddish", refers to the Jewish prayer traditionally recited during mourning. Ginsberg’s extended poem serves as a tribute to his mother Naomi while also expressing his feelings of alienation from his original faith. Unlike the conventional Kaddish prayer—which contains no mention of death—Ginsberg’s version is filled with reflections and inquiries about mortality.
Following Naomi’s death, a rabbi refused to permit the traditional Kaddish to be recited alongside Ginsberg’s Christian and atheist friends. In response, Ginsberg composed his own version of the Kaddish. He began writing it at the Beat Hotel in Paris during December 1957 and completed it in New York City in 1959.
Proposed film version
Ginsberg adapted the poem into a screenplay intended for film. Robert Frank was slated to direct; however, funding for the project was never secured.
Stage version
In 1972, Robert Kalfin transformed the screenplay into a theatrical production presented at the Chelsea Theater Center within the Brooklyn Academy of Music. This adaptation delved into Naomi Ginsberg’s schizophrenic breakdown and incorporated pioneering video technology to depict flashback sequences.
A comprehensive account of this production along with behind-the-scenes details can be found in Davi Napoleon’s documentation of the Chelsea theater company in Chelsea on the Edge: The Adventures of an American Theater (1991). The stage play was also performed at Israel’s Habima Theater, translated by Nathan Zach and featuring Yoram Khatav as Allen and Gila Almagor portraying Naomi.
On Naomi Ginsberg
Rather than following a straightforward narrative, Kaddish unfolds through a series of recollections and impressions concerning its subjects’ lives. The first section opens with Ginsberg contemplating his mother’s death, writing: “Strange now to think of you, gone without corsets & eyes, while I walk on the sunny pavement of Greenwich Village.” The poem recounts aspects of Naomi’s early years—her enjoyment of Charlie Chaplin films and visits to the Metropolitan Opera House. It also portrays her immigrant background from Russia, memories of candy shops, ice cream treats, and soda drinks. Additionally, it addresses her communist ideology alongside her pervasive paranoia (“All the accumulations of life, that wear us out—clocks, bodies, consciousness, shoe, breasts—begotten sons—your Communism—‘Paranoia’ into hospitals.”).
In the second part, Ginsberg explores the nature of Naomi’s mental illness and his experience witnessing it during his youth. The poem reveals that she often sought protection from him amid her paranoid delusions and confided her fears to him. Her paranoia involved beliefs that external forces or medical personnel intended harm or death. There were instances when ordinary sounds or light would provoke terror in her. Part II also discloses that Naomi’s initial nervous breakdown occurred in 1919, resulting in her confinement to a dark room for three weeks. While much attention is given to these difficult periods, Ginsberg also reflects extensively on moments when Naomi was well, illustrating his enduring love and hope for her recovery.
Expanded Interpretation
Beyond chronicling Naomi Ginsberg’s life, the poem serves as Allen Ginsberg’s meditation on existence and mortality. Throughout the verses, he frequently reflects on the inevitability of his own death. He also references various family members and significant moments linked to his relationship with his mother, including the impact of the Great Depression. By connecting his personal experiences and his mother’s illness to broader societal hardships, Ginsberg universalizes these struggles. The poem further explores themes of spirituality, revealing Ginsberg’s ambivalence and estrangement from his Jewish faith. It challenges the relevance of religious institutions and questions authority more broadly.
Form and Literary Techniques
The poem shares structural similarities with Howl (1955), particularly in its use of extended lines intended to be read in a single breath, as Ginsberg himself has noted. This technique contributes to a feeling of intensity and rapid movement throughout the piece. The poem reads like an unfiltered outpouring of memories rather than following a strict formal pattern. Line indentation varies irregularly, and punctuation often relies on hyphens. Sentences tend to be lengthy and continuous, overflowing with shifting images and ideas.
A notable stylistic choice in this work is Ginsberg’s selective capitalization. Words such as “Death,” “Day,” “Mercy,” and “Oblivion” are capitalized despite not requiring it grammatically. This typographical emphasis signals their elevated significance within the poem. Specifically, “Oblivion” is portrayed not merely as an abstract concept but as a tangible realm, justifying its capitalization.
References
- Allen Ginsberg, Kaddish and Other Poems 1958-1960 (San Francisco: City Lights Books, 1961)