Death & Fame by Allen Ginsberg – American Poems, Analysis of Allen Ginsberg’s Poems, Death and Fame by Allen Ginsberg stands asa thoughtful and reflective investigation of fame, death, and the legacy of people within the framework of their creative and cultural achievements. The poem, which was written by a well-known Beat Generation member, addresses universal topics and provides a personal perspective on the poet’s own yearning for recognition.

The poem opens with a sobering admission that death is inevitable and that no amount of notoriety can keep people from going through this common experience. After that, Allen Ginsberg explores the fleeting nature of celebrity by contrasting external success indicators with the long-lasting effects of historical artistic and cultural undertakings.Death and Fame poem short summary by Allen Ginsberg 

Death and Fame poem summary

Lines 1-4: The poem begins with a declaration about the inevitability of death and the transient nature of life. Ginsberg acknowledges that all things must end, and even the most famous individuals will eventually face mortality.

Lines 5-8: The speaker reflects on the impermanence of fame. Despite the achievements and recognition that come with fame, the poem suggests that these external markers do not shield individuals from the universal experience of death.Death and Fame poem short summary by Allen Ginsberg 

Lines 9-12: Ginsberg contemplates the cultural and artistic legacies left behind by those who have died. He mentions various historical and cultural figures, suggesting that their fame persists in the collective memory despite their physical absence.

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Lines 13-16: The poem takes a turn as Ginsberg shifts to a more personal reflection. He considers his own mortality and the potential legacy he might leave behind. There’s a tension between the desire for fame and the recognition that it is ultimately fleeting.

Lines 17-20: Ginsberg grapples with the paradox of fame—the desire for recognition and the simultaneous awareness of its transience. The poem touches on the tension between the public persona and the private self, highlighting the complexity of being in the public eye.

Lines 21-24: The speaker contemplates the role of the artist in shaping culture and society. Ginsberg suggests that the artist contributes to the collective consciousness, and their work has the potential to outlast them.

Lines 25-28: The poem concludes with a reflection on the interplay between death and fame. Ginsberg acknowledges that, despite the inevitability of death, the desire for fame and the creation of lasting art persist as inherent aspects of the human experience.

Death and Fame poem

When I die
I don’t care what happens to my body
throw ashes in the air, scatter ’em in East River
bury an urn in Elizabeth New Jersey, B’nai Israel Cemetery
But l want a big funeral
St. Patrick’s Cathedral, St. Mark’s Church, the largest synagogue in
Manhattan
First, there’s family, brother, nephews, spry aged Edith stepmother
96, Aunt Honey from old Newark,
Doctor Joel, cousin Mindy, brother Gene one eyed one ear’d, sister-
in-law blonde Connie, five nephews, stepbrothers & sisters
their grandchildren,
companion Peter Orlovsky, caretakers Rosenthal & Hale, Bill Morgan–
Next, teacher Trungpa Vajracharya’s ghost mind, Gelek Rinpoche,
there Sakyong Mipham, Dalai Lama alert, chance visiting
America, Satchitananda Swami
Shivananda, Dehorahava Baba, Karmapa XVI, Dudjom Rinpoche,
Katagiri & Suzuki Roshi’s phantoms
Baker, Whalen, Daido Loorie, Qwong, Frail White-haired Kapleau
Roshis, Lama Tarchen —
Then, most important, lovers over half-century
Dozens, a hundred, more, older fellows bald & rich
young boys met naked recently in bed, crowds surprised to see each
other, innumerable, intimate, exchanging memories
“He taught me to meditate, now I’m an old veteran of the thousand
day retreat –”
“I played music on subway platforms, I’m straight but loved him he
loved me”
“I felt more love from him at 19 than ever from anyone”
“We’d lie under covers gossip, read my poetry, hug & kiss belly to belly
arms round each other”
“I’d always get into his bed with underwear on & by morning my
skivvies would be on the floor”
“Japanese, always wanted take it up my bum with a master”
“We’d talk all night about Kerouac & Cassady sit Buddhalike then
sleep in his captain’s bed.”
“He seemed to need so much affection, a shame not to make him happy”
“I was lonely never in bed nude with anyone before, he was so gentle my
stomach
shuddered when he traced his finger along my abdomen nipple to hips– ”
“All I did was lay back eyes closed, he’d bring me to come with mouth
& fingers along my waist”
“He gave great head”
So there be gossip from loves of 1948, ghost of Neal Cassady commin-
gling with flesh and youthful blood of 1997
and surprise — “You too? But I thought you were straight!”
“I am but Ginsberg an exception, for some reason he pleased me.”
“I forgot whether I was straight gay queer or funny, was myself, tender
and affectionate to be kissed on the top of my head,
my forehead throat heart & solar plexus, mid-belly. on my prick,
tickled with his tongue my behind”
“I loved the way he’d recite ‘But at my back allways hear/ time’s winged
chariot hurrying near,’ heads together, eye to eye, on a
pillow –”
Among lovers one handsome youth straggling the rear
“I studied his poetry class, 17 year-old kid, ran some errands to his
walk-up flat,
seduced me didn’t want to, made me come, went home, never saw him
again never wanted to… ”
“He couldn’t get it up but loved me,” “A clean old man.” “He made
sure I came first”
This the crowd most surprised proud at ceremonial place of honor–
Then poets & musicians — college boys’ grunge bands — age-old rock
star Beatles, faithful guitar accompanists, gay classical con-
ductors, unknown high Jazz music composers, funky trum-
peters, bowed bass & french horn black geniuses, folksinger
fiddlers with dobro tamborine harmonica mandolin auto-
harp pennywhistles & kazoos
Next, artist Italian romantic realists schooled in mystic 60’s India,
Late fauve Tuscan painter-poets, Classic draftsman Massa-
chusets surreal jackanapes with continental wives, poverty
sketchbook gesso oil watercolor masters from American
provinces
Then highschool teachers, lonely Irish librarians, delicate biblio-
philes, sex liberation troops nay armies, ladies of either sex
“I met him dozens of times he never remembered my name I loved
him anyway, true artist”
“Nervous breakdown after menopause, his poetry humor saved me
from suicide hospitals”
“Charmant, genius with modest manners, washed sink, dishes my
studio guest a week in Budapest”
Thousands of readers, “Howl changed my life in Libertyville Illinois”
“I saw him read Montclair State Teachers College decided be a poet– ”
“He turned me on, I started with garage rock sang my songs in Kansas
City”
“Kaddish made me weep for myself & father alive in Nevada City”
“Father Death comforted me when my sister died Boston l982”
“I read what he said in a newsmagazine, blew my mind, realized
others like me out there”
Deaf & Dumb bards with hand signing quick brilliant gestures
Then Journalists, editors’s secretaries, agents, portraitists & photo-
graphy aficionados, rock critics, cultured laborors, cultural
historians come to witness the historic funeral
Super-fans, poetasters, aging Beatnicks & Deadheads, autograph-
hunters, distinguished paparazzi, intelligent gawkers
Everyone knew they were part of ‘History” except the deceased
who never knew exactly what was happening even when I was alive