America
America I've given you all and now I'm nothing.
America two dollars and twentyseven cents January
17, 1956.
I can't stand my own mind.
America when will we end the human war?
Go fuck yourself with your atom bomb.
I don't feel good don't bother me.
I won't write my poem till I'm in my right mind.
America when will you be angelic?
When will you take off your clothes?
When will you look at yourself through the grave?
When will you be worthy of your million Trotskyites?
America why are your libraries full of tears?
America when will you send your eggs to India?
I'm sick of your insane demands.
When can I go into the supermarket and buy what I
need with my good looks?
America after all it is you and I who are perfect not
the next world.
Your machinery is too much for me.
You made me want to be a saint.
There must be some other way to settle this argument.
Burroughs is in Tangiers I don't think he'll come back
it's sinister.
Are you being sinister or is this some form of practical
joke?
I'm trying to come to the point.
I refuse to give up my obsession.
America stop pushing I know what I'm doing.
America the plum blossoms are falling.
I haven't read the newspapers for months, everyday
somebody goes on trial for murder.
America I feel sentimental about the Wobblies.
America I used to be a communist when I was a kid
I'm not sorry.
I smoke marijuana every chance I get.
I sit in my house for days on end and stare at the roses
in the closet.
When I go to Chinatown I get drunk and never get laid.
My mind is made up there's going to be trouble.
You should have seen me reading Marx.
My psychoanalyst thinks I'm perfectly right.
I won't say the Lord's Prayer.
I have mystical visions and cosmic vibrations.
America I still haven't told you what you did to Uncle
Max after he came over from Russia.
I'm addressing you.
Are you going to let your emotional life be run by
Time Magazine?
I'm obsessed by Time Magazine.
I read it every week.
Its cover stares at me every time I slink past the corner
candystore.
I read it in the basement of the Berkeley Public Library.
It's always telling me about responsibility. Business-
men are serious. Movie producers are serious.
Everybody's serious but me.
It occurs to me that I am America.
I am talking to myself again.
Asia is rising against me.
I haven't got a chinaman's chance.
I'd better consider my national resources.
My national resources consist of two joints of
marijuana millions of genitals an unpublishable
private literature that goes 1400 miles an hour
and twenty-five-thousand mental institutions.
I say nothing about my prisons nor the millions of
underprivileged who live in my flowerpots
under the light of five hundred suns.
I have abolished the whorehouses of France, Tangiers
is the next to go.
My ambition is to be President despite the fact that
I'm a Catholic.
America how can I write a holy litany in your silly
mood?
I will continue like Henry Ford my strophes are as
individual as his automobiles more so they're
all different sexes.
America I will sell you strophes $2500 apiece $500
down on your old strophe
America free Tom Mooney
America save the Spanish Loyalists
America Sacco & Vanzetti must not die
America I am the Scottsboro boys.
America when I was seven momma took me to Com-
munist Cell meetings they sold us garbanzos a
handful per ticket a ticket costs a nickel and the
speeches were free everybody was angelic and
sentimental about the workers it was all so sin-
cere you have no idea what a good thing the
party was in 1835 Scott Nearing was a grand
old man a real mensch Mother Bloor made me
cry I once saw Israel Amter plain. Everybody
must have been a spy.
America you don't really want to go to war.
America it's 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. She wants to take our cars from out our
garages.
Her wants to grab Chicago. Her needs a Red Readers'
Digest. Her wants our auto plants in Siberia.
Him big bureaucracy running our fillingsta-
tions.
That no good. Ugh. Him make Indians learn read.
Him need big black niggers. Hah. Her make us
all work sixteen hours a day. Help.
America this is quite serious.
America this is the impression I get from looking in
the television set.
America is this correct?
I'd better get right down to the job.
It's true I don't want to join the Army or turn lathes
in precision parts factories, I'm nearsighted and
psychopathic anyway.
America I'm putting my queer shoulder to the wheel.
Berkeley, January 17, 1956
Literary Analysis
This literary analysis was generated with AI and may contain interpretive differences. Provide your analysis in the comments section.
Summary
Allen Ginsberg's poem unfolds as a direct, volatile conversation with the nation itself. The poem's restless first person voice moves from anger and exhaustion to irony, confession, and dark humor, as the poet addresses America as both an external power and a mirror of his own divided mind. He shifts rapidly between political slogans, private habits, and cultural references, creating the feeling of a mind talking under pressure while trying to keep control of its own language.
As the poem progresses, its challenge becomes more complicated than simple protest. Ginsberg condemns war, conformity, paranoia, and institutional authority, yet he also admits his own contradictions: consumer desire, drug use, radical politics, spiritual longing, and national identity all coexist in the same breathing speaker. By the end, the poem suggests that America is not just a country to criticize but a condition to inhabit, resist, and reimagine. Its central tension lies in that refusal to settle into either pure rebellion or easy patriotism.
Theme
- Political protest - The poem attacks war, anti-communist fear, bureaucracy, and public hypocrisy, turning national complaint into a sustained act of dissent.
- National identity - Ginsberg treats America as something he belongs to and argues with at the same time, making identity feel conflicted rather than fixed.
- Conformity versus individual freedom - The poem resists the pressure to be serious, productive, and obedient, defending eccentricity, sexuality, and artistic freedom instead.
- Cold War paranoia - References to Russians, communists, and media fear show a culture organized by anxiety and propaganda.
- Consumer culture - Supermarkets, magazines, cars, and business language reveal a society where desire and selfhood are shaped by mass commerce.
- Spiritual hunger - Beneath the sarcasm and rage, the poem keeps reaching for holiness, innocence, and a more humane order.
- Self-contradiction - The poem openly admits instability in politics, habits, and thought, suggesting that honesty includes confusion and inconsistency.
Literary Devices
- Apostrophe - Ginsberg repeatedly speaks directly to America, turning the nation into a living listener and sharpening the poem's confrontational energy.
- Repetition - The repeated address to America creates a chant-like rhythm and emphasizes obsession, pressure, and emotional urgency.
- Free verse - The loose, irregular lines match the poem's unruly thought process and its refusal of formal control.
- Juxtaposition - Sacred longing, comic bragging, political rage, and ordinary details sit beside one another, exposing the contradictions of modern life.
- Irony - The poem often says one thing while implying its opposite, especially when it mimics official language or patriotic seriousness.
- Hyperbole - Exaggerated claims and impossible scenarios intensify the satire and make public absurdity feel larger than life.
- Allusion - References to Marx, Time Magazine, the Wobblies, and political martyrs place the poem inside a wider web of ideological history.
- Cataloging - Lists of grievances, habits, and images create momentum while making the poem feel crowded with American realities.
Symbolism
- Time Magazine - A symbol of mass culture, authority, and the pressure to measure life through approved public narratives.
- Atom bomb - A symbol of modern destruction, militarism, and the terrifying scale of twentieth-century power.
- Supermarket - A symbol of consumer abundance that also suggests emptiness and the reduction of desire to buying power.
- Television set - A symbol of mediated reality, showing how fear and national opinion are filtered through screens.
- Russia/Russians - A symbol of Cold War projection, representing both geopolitical fear and the distortions of propaganda.
- Marijuana - A symbol of rebellion, altered consciousness, and the speaker's refusal of conventional respectability.
- Queer shoulder - A symbol of marginalized identity turned into force, suggesting defiant participation rather than assimilation.
Tone
Ginsberg's tone is sarcastic, frantic, defiant, and oddly vulnerable, as if outrage and confession are happening at the same speed. He sounds impatient with political lies and cultural absurdity, yet he also exposes his own insecurity and obsession, which keeps the poem from becoming a simple rant. The mood for the reader is urgent and unstable: comic in one line, accusatory in the next, then suddenly elegiac or prophetic. That shifting atmosphere makes the poem feel alive, unsettled, and dangerously honest.
Historical Context
Allen Ginsberg's poem belongs to the Beat generation, a postwar literary movement that pushed back against conformity, consumer culture, censorship, and Cold War officialness. Beat writing often favored direct speech, improvisation, spiritual searching, sexual candor, and a distrust of institutions. In that setting, the poem's mix of political protest and personal confession reflects a larger artistic rebellion against the polished public voice of midcentury America.
The poem also reflects the anxieties of the 1950s United States, when anti-communism, mass media, and the fear of nuclear conflict shaped everyday life. Its references to leftist politics, labor activism, and public suspicion make sense within that broader climate, even as the poem refuses to speak from a single ideological position. Instead, it captures the era's pressures through satire, self-exposure, and cultural overload.
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