Popular Culture Review Vol. 27, No. 1, Winter 2016 | Page 62

talked  about  things  I  could  relate  to”  (Conversations 169). Howl expanded  Baraka’s   sense of what was possible to express through poetry. His early Beat/Village years would fall behind him as moved into The Black Arts Movement and, later, Marxism. However, those early years would always exert an influence. Baraka would downplay that influence in years to come with statements such as  “the  only  aspect  I  could  say  of  O’Hara  and  Ginsberg  that  I  could  have  possibly   appropriated  was  the  kind  of  openness  that  I  always  got  from  them”  (Conversations 170). As far as Baraka was concerned, he had moved beyond those reference points no later  than  1965,  the  year  of  publication  for  “The  System  of  Dante’s  Hell. That’s  when  I   consciously stopped trying to write like people whose work I was around, people like Charles  Olson  and  Allen  Ginsberg”  (100). However, while he would de-emphasize those early years, he could never entirely eliminate their influence; they became one (albeit a powerful one) among many influences that informed but never dominated his work. The Beats, for Baraka, represented suggestions and possibilities, available avenues but not absolute directives. Nonetheless, an examination of the two poems demonstrates a connection and an influence but not a direct copying.19 Both poems are fairly long. Howl (parts one, two, and three) is approximately 3,000 words  long  (about  2,957)  and  “Somebody”   finishes at well over a thousand words (around 1,179). As first glance, Howl appears to be the shorter poem but that is because of the extremely long lines that the poem favors as opposed to the shorter lines of “Somebody.”  Both  poems  are  indictments  of  the   larger  status  quo  of  each  of  their  author’s  respective  environments. Both poems begin by  using  the  rhetorical  device  of  anaphora  (literally  “carrying  back”)  which  features  the   repeated use of a word or phrase in an initial position in a line of poetry. Whereas Ginsberg begins almost every line with who in part one, the largest of the  poem’s  three  sections,  to  describe  the  people  negatively  affected  by  their   environments, Baraka starts the majority of the lin \