Classic and Contemporary Poetry: Explained

In "Sickness Blues," Allen Ginsberg lays bare the raw and intimate struggle with illness, aging, and existential despair through the familiar structure and rhythm of a blues song. The poem captures the physical and emotional pain that accompanies sickness, illustrating a profound sense of loss and introspection.

The opening lines, "Lord Lord I got the sickness blues, I must’ve done something wrong / There ain’t no Lord to call on, now my youth is gone," establish a tone of lamentation and helplessness. Ginsberg invokes the Lord, a common trope in blues music, but immediately negates the presence of any divine intervention, emphasizing the abandonment and isolation felt in the throes of sickness. The reference to lost youth underscores a longing for the past and the vitality that has since faded.

The repeated refrain, "Sickness blues," followed by various symptoms and consequences of illness, reinforces the pervasive and relentless nature of his suffering. The line "Tears come in my eyes, feel like an old tired whore" is stark and provocative, evoking an image of weariness and disillusionment, drawing a parallel between physical ailment and the emotional toll of feeling used and discarded.

Ginsberg's recounting of his visit to the doctor—"he shot me with poison germs / I got out of the hospital, my head was full of worms"—illustrates a deep distrust in medical intervention and a sense of betrayal. The metaphor of "worms" in his head suggests invasive, insidious thoughts that exacerbate his suffering, contributing to a cycle of despair and paranoia.

The lines "All I can think is Death, father’s getting old / He can’t walk half a block, his feet feel cold" reveal a connection between his own sickness and the aging of his father, drawing a parallel between their declining health. This familial bond adds another layer of sorrow, as he contemplates mortality not just for himself but for his loved ones.

Ginsberg’s retreat to Santa Fe—"I went down to Santa Fe take vacation there / Indians selling turquoise in dobe huts in Taos Pueblo Square"—offers a brief escape from his ailments, but even in a different setting, his sickness follows him: "Got headache in La Fonda, I could get sick anywhere." The inescapability of his condition highlights the pervasive nature of his suffering and the futility of seeking solace in physical relocation.

The poet’s reflection on "bad karma" and his past actions—"Must be my bad karma, fuckin these pretty boys / Hungry ghosts chasing me, because I been chasing joys"—introduces the concept of cosmic retribution. The "hungry ghosts" symbolize unfulfilled desires and the consequences of hedonistic pursuits, suggesting that his current state is a result of past indulgences.

The closing lines express a desire for escape and resignation: "Someday I’m gonna get out of here, go somewhere alone / Yeah I’m going to leave this town with noise of rattling bone / I got the sickness blues, you’ll miss me when I’m gone." Ginsberg’s longing to be free from the physical and emotional pain is palpable. The imagery of "rattling bone" evokes the finality of death, hinting at his readiness to embrace the end as a release from suffering.

"Sickness Blues" is a poignant exploration of Ginsberg’s internal battle with illness, mortality, and the haunting regrets of a life lived in pursuit of fleeting pleasures. The poem’s raw honesty and the use of blues motifs effectively convey the depth of his anguish, making it a powerful piece of confessional poetry.

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