《嚎叫》是美国后现代诗歌的扛鼎之作。国内在介绍《嚎叫》时都过于强调它的颓废反社会的一面,本译作从历史事实出发,再现了50年代前后金斯堡创作《嚎叫》的社会背景、创作初衷、创作经过以及创作后再三斟酌修改等。《嚎叫》完成后诗人诉诸他奇特的脱衣朗读方式宣传和推销《嚎叫》,其方式骇人惊俗。金斯堡是20世纪继威廉斯之后典型的美国诗人,诗风完全迥异于西方传统,因而遭到国内保守文人的大肆攻击。50年代中期围绕着《嚎叫》在美国各大学校园和主要文学刊物间打响了一场传统与先锋文学/文化大战,论战成就了一代伟大诗人。本文译自美国当代作家乔纳·拉斯金专著:《美国呐喊:艾伦·金斯堡的<嚎叫>和垮掉派的兴起》,真实记录了《嚎叫》创作前后及其艰难迈步的最初日子。 Howl is the work of the postmodern poetry in the United States. In introducing the howl in China, its emphasis on decadent and antisocial aspects is over-emphasized. This translation, based on historical facts, reproduces the social background, original intention, creation and creation of Howl’s creation in the 1950s After repeated consideration and other changes. After the Howl was done, the poet resorted to his peculiar stripper reading and marketing “howl” in a horrifying manner. Ginsburg is a typical American poet after the 20th century, following Williams. His poetry style is completely different from the Western tradition, and thus he has been attacked by conservative domestic scholars. In the mid-1950s, “Howling” started a traditional and vanguard literary / cultural war between the campuses and major literary publications in the United States. The controversy marked the success of a generation of great poets. This article is translated from the monograph by Jonathan Russkin, a contemporary American writer: “The Cry of the United States: Howl of Alan Ginsberg and the Rise of the Beat Pieces”, a true record of the howl and its difficult steps The first days