Classic and Contemporary Poetry: Explained

In "Sexual Abuse," Allen Ginsberg presents a stark and urgent commentary on the issue of child molestation within religious institutions, particularly targeting the hypocrisy and complicity of clergy who conceal such crimes. The poem is brief yet powerful, using a direct and unflinching tone to address a deeply disturbing subject.

The poem opens with an epigraph from William S. Burroughs, "A Nation of Finks," setting the stage for a critique of those who betray trust and engage in deceit. This line underscores the theme of betrayal and the moral failure of those who should be protectors but instead become perpetrators or enablers of abuse.

Ginsberg then introduces a "voice in the kitchen light," suggesting an everyday setting where such critical issues might be discussed, highlighting the pervasive and insidious nature of the problem. The repetition of the line "Sexual abuse should not be rewarded with a wink" emphasizes the societal tendency to downplay or ignore the severity of such acts. The playful phonetic variation in the repeated line—"Sexshual abuse should not be revarded mit a vink"—introduces a note of irony and perhaps reflects the flippant attitude that some might have towards the issue, mocking the inadequate responses to serious crimes.

The poem references a specific headline from the Boston Herald, "Sexual Abuse Law Targets Clergy," and a statement from a senator advocating that "Religious leaders must report child molesters." This brings the issue into the realm of public policy and law, highlighting efforts to hold clergy accountable for their actions and the actions of their peers.

Ginsberg’s use of the word "fink" in the line "Priests should turn each other in, fink" is crucial. Historically, "fink" is a derogatory term for an informer or a snitch, often used with a negative connotation. Here, Ginsberg reclaims the term, suggesting that in the context of sexual abuse, informing is not only justified but necessary. The call for priests to "turn each other in" is a demand for accountability and justice, breaking the silence and complicity that have allowed abuse to flourish.

The final lines of the poem—"So, say it in the confession box, not over sherry at intimate dinner"—provide a sharp contrast between the sacred and the profane. The confession box represents a place of supposed moral and spiritual cleansing, yet Ginsberg implies that real accountability should extend beyond private admissions to active reporting and intervention. The image of discussing such grave matters "over sherry at intimate dinner" highlights the casual and dismissive way in which these serious issues are sometimes treated by those in power, underscoring the need for sincere and public accountability.

"Sexual Abuse" is a forceful critique of the clergy’s role in concealing sexual misconduct and a call to action for greater transparency and accountability within religious institutions. Ginsberg’s poem resonates with anger and frustration at the failure to protect the vulnerable and serves as a poignant reminder of the need for systemic change and justice.

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