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. This collage-like work of sources, influences, rebirths, and deaths, comprises an inter-linked glossary for what Beatitude (Beat/Attitude) means and has meant, and shows how “the vocation to beatitude” still moves as a force of empowerment across time and space, activating some kind of influx from the Holy Spirit or from the Over-soul or individual Godhead that allows one to write, to think, to act, to love, to renew the world each day, to make it new, to hitch the self into the drafts of breath and wind and spirit. These states are forces of "beatitude" and high-holyness still crucial to the poetics and politics of the post-Beat writer: forces of election and chosen vocation that Emerson and others, from Jesus to Spinoza and Blake, had endorsed as active joy and the felt good news of blessedness inter-animating the self to others and the world to life-renewal. Taking its initial motivation from the Sermon on the Mount and latter-days writers as diverse in vision as Jack Kerouac, Mother Angelica, Gilles Deleuze, and Maxine Hong Kingston, Beatitude stands for the self-convicted state of high-holy vision in which the lowly becomes exalted and can activate the deepest forces and ideals and principles of poetic polity.
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