Allen Ginsberg’s performance of “Footnote to Howl” offers a particular interpretation of the poem’s text and presents some unique insights about the poem’s sounds, syntax, and theme. Two major features of “Footnote”  are the repetition of “holy” and the prevalence of exclamation points. Just looking at the text of “Footnote” in isolation, the reader is left to interpret those exclamation points according to his or her own inner or outer voice. The tendency might be to read every line at a similar ecstatic volume. However, because there are no other written signs for how to read the poem (as opposed to those offered in a musical score), the reader might even choose to vary the inflection of lines according to his or her preference. The litany of “holy” phrases combines repetition with differences in people, places, objects, locations, and traits that range from body parts to types of people to specific people to specific locations. According to Ginsberg’s poem, the skin, the nose, and asshole are all equally holy (2). The bum (4), the madman (4), and the speaker’s mother (7) are also equated. Cities from around the world (11) and Ginsberg friends and associates (6) are all holy. This repetition, with differences, illustrates a theme of the poem: that everything in the world, even the world itself (2), is sacred.

Ginsberg’s vocal performance of “Footnote” is a revelation. The way in which he reads the poem aloud highlights his themes and generate a range of associations that add to its profundity. As voiced by the poet, in the first line, the repetition of “Holy!” serves as a mantra, or the frequent repetition of a word or sound, often associated with meditation practices in Eastern religions. Ginsberg reads the beginning lines of the poem in a monotonous, relatively loud voice. This style may remind the listener of an actual church-service litany. So, the way in which Ginsberg reads the poem emphasizes the sacred nature of the words he’s speaking. At about the line, “Holy the bop apocalypse!” (8), it becomes noticeable that Ginsberg is slowing the speed of his recitation and lowering his volume. As a result, the reader begins to feel the tedium and monotony of the poem, as if the poet’s list could go on forever. This might be Ginsberg’s intent, to emphasize the holiness of all things, ad infinitum. In the penultimate line, Ginsberg raises the pitch of his voice as he reads, “Holy! Ours! bodies! suffering! magnanimity!” (14), in order to emphasize these words and possibly to signify the end of the poem. Ginsberg’s reading demonstrates how the performance of a poem can highlight themes and offer a unique interpretation of the text.