Pasolini's fitful rapport with Beat culture sheds light on the wider paradoxes of his own corpus, including his fraught rapports with Communist officialdom, his affinities for racially and sexually marginalized cultures, and his brief fixation upon American culture as a beacon of New Left change. This essay addresses not only Pasolini's direct exchanges with Ginsberg, but also the wider context of the Beats’ reception in Italy chiasmatically, it considers Pasolini’s extensive reflections on American subculture during the 1960s. Though they had reached their peak prominence during the mid- and late 1950s in America, the Beats’ Italian afterlife crested at the end of the following decade. The Beat Generation emerged shortly before Pier Paolo Pasolini-exiled to Rome following a sexual scandal in his native Friuli-took up residence on the capital’s outskirts, navigating between the subproletariat squalor upon which his poetry drew, and an increasingly prominent role in Rome's high literary scene, earned through the very same verse.
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