The Poem

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Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 538

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“A Supermarket in California” is a short poem in free verse, its twelve lines divided into three stanzas. The title suggests a bland setting—not the expected source of a poem. The title and setting prove ironic, however, as Allen Ginsberg demonstrates that for most people in America, exploration goes no further than the local grocery store.

The poem is written in the first person, which is typical of Ginsberg’s work; he writes very personally of his visions and experiences in America. Ginsberg is speaking in the first person not only to share his immediate sensuous experiences but also to invoke, by using this perspective, the American poet in whose footsteps he is attempting to walk: Walt Whitman.

In fact, Ginsberg speaks directly to Whitman in the poem’s first line as he wearily trudges down the streets of suburban California, “self-conscious looking at the full moonshopping for images.” He enters a bright “neon fruit supermarket” (line 2) as if here he might find the same image of America—the diversity and freedom, the limitless, democratic possibilities—that Whitman saw. What he sees in the market, however, is only the multitude of fruit and the families shopping together as if this were the richest experience they could share.

At the end of stanza 1, Ginsberg also spies the twentieth century Spanish poet Federico García Lorca standing by the watermelons. The sighting of García Lorca—a homosexual like Ginsberg and, many suspect, Whitman—creates a smooth transition to stanza 2, where Ginsberg chides Whitman for “eyeing the grocery boys” (line 4). In his mind he hears Whitman asking mundane questions about food prices, about “who killed the pork chops,” and if anyone will be his “Angel”—that is, will follow him (line 5). There is no response, but Ginsberg continues following the elder poet past aisles of canned goods, perhaps trailed by the store detective, who has noted Ginsberg’s suspicious appearance.

Stanza 2 ends with the poets tasting delicacies along the way but buying nothing. At the beginning of the final stanza, they find themselves with no place to go, since in an hour, when the store closes, they will be given their freedom again. Ginsberg looks to Whitman for advice and direction, and even “touches” Whitman’s book (presumably Leaves of Grass, 1855) for inspiration.

He gets no response and thus finds himself out on the “solitary streets,” with the “lights out in the houses,” where he and Whitman will “both be lonely” (line 10). He asks if it is possible that their walk will be a pleasant memory of “the lost America of love” (line 11), meaning the freer, untamed America of Whitman’s day, since, as he notes, they will also have to walk past the same blue cars in the same driveways, house after house. The poem ends on a note of despair as Ginsberg asserts that when Whitman’s journey ended, he found himself by the mythical waters of Lethe, one of the rivers in Hades. “What America did you have then,” he asks Whitman, and since the poem began in the first-person singular and shifted to the plural in stanzas 2 and 3, as if the two are journeying together, he seems to be including himself in this haunting question.

Forms and Devices

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Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 503

What is most noticeable about the form of “A Supermarket in California” is its free verse, which again alludes to Whitman, the founder of the free verse style. Ginsberg even more closely associates himself with Whitman by exploiting the complexity of the structure and rhythm of this form. Whitman’s famous self-referential poem “Song of Myself” (1855) is the particular model for Ginsberg, as both poems employ convoluted sentence structures and lines that cannot be contained within one line on the typical printed page.

Each line of “A Supermarket in California” “contains multitudes,” as Whitman said of himself in “Song of Myself” (line 1326). For example, the first line invokes Whitman himself, sets the poem down on a suburban street in America, describes the speaker as having a “headache,” being “self-conscious,” and looking at “the full moon,” which, though traditionally a sign of lunacy, functions even better here to contrast with the artificial “neon” light of the supermarket in the next line. Outdoor America is easily traversed, in contrast to Whitman’s idea and to the reality of America in the nineteenth century.

The third line also supports this premise as it speaks of various fruits, families spending time shopping, and finally the homosexual poet García Lorca. By using García Lorca, Ginsberg points to two clear distinctions between the average American and the poets mentioned: the poets’ confusion and despair over the loss of the art and beauty of unspoiled America and their sense of alienation at deviating from the sexual norm of America.

Rhythmically, “A Supermarket in California” also matches “Song of Myself” through the use of opening repetition. Each of the first three lines of stanza 2 begins with the first-person-singular pronoun followed by an active verb: “I saw you, Walt Whitman . . .;/ I heard you asking questions . . .;/ I wandered in and out.” The last line of that stanza, while switching to first-person plural, only varies the same pattern: “we strode down the open corridors.” This rhythmic pattern works as well in the last stanza through Ginsberg’s questioning of Whitman, similar to Whitman’s questioning of his readers in “Song of Myself”: “Where are we going . . .;/ Will we walk all night . . .;/ Will we stroll dreaming.” The repetition of certain patterns serves as an incantation in which Ginsberg tries to break the spell that suburban, homogeneous America has on its citizenry.

Finally, the supermarket is an obvious metaphor for Ginsberg’s view of the final product of what Whitman had seen as the great promise of America’s vast, unexplored frontier. The age of exploration in nineteenth century America pushed the frontier to the Pacific Ocean. Whitman advocated following America’s paths and thereby exploring and finding oneself—one’s imaginative and spiritual potential. All Ginsberg has found at the end of the frontier is a neon-lit supermarket full of people who seem to have nowhere else to go or who have lost the drive to explore. Thus, the potential of America has been transformed, or has “progressed” to that of easy shopping.

Bibliography

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Last Updated on May 5, 2015, by eNotes Editorial. Word Count: 198

“Allen Ginsberg.” In The Beats: A Literary Reference, edited by Matt Theado. New York: Carroll & Graf, 2004.

Hyde, Lewis, ed. On the Poetry of Allen Ginsberg. Ann Arbor: University of Michigan Press, 1984.

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Miles, Barry. The Beat Hotel: Ginsberg, Burroughs, Corso, Paris: 1958-1963. New York: Grove Press, 2001.

Miles, Barry. Ginsberg: A Biography. New York: Simon & Schuster, 1989.

Molesworth, Charles. “Republican Objects and Utopian Moments: The Poetry of Robert Lowell and Allen Ginsberg.” In The Fierce Embrace. Columbia: University of Missouri Press, 1979.

Morgan, Bill, ed. The Works of Allen Ginsberg, 1941-1994: A Descriptive Bibliography. Westport, Conn.: Greenwood Press, 1995,

Morgan, Bill, and Bob Rosenthal, eds. Best Minds: A Tribute to Allen Ginsberg. New York: Lospecchio, 1986.

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Schumacher, Michael. Dharma Lion: A Critical Biography of Allen Ginsberg. New York: St. Martin’s Press, 1992.

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