Download Gregory Corso: Doubting Thomist by Kirby Olson PhD PDF

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By Kirby Olson PhD

Gregory Corso is the main intensely religious of the Beat new release poets and nonetheless through a ways the least explored. The advantage of Kirby Olson’s Gregory Corso: Doubting Thomist is that it's the first e-book to put all of Corso’s paintings in a philosophical standpoint, focusing on Corso as a poet torn among a static Catholic Thomist standpoint and that of a revolutionary surrealist. While Corso is a topic of significant controversy—his paintings usually being visible as nihilistic and wildly comic—Olson argues that Corso’s poetry, in truth, keeps an insistent subject matter of doubt and religion with reference to his early Catholicism. even supposing many critics have tried to learn his poetry, and a few have performed so brilliantly, Olson—in his strategy and focus—is the 1st to try to provide a holistic knowing of the oeuvre as basically one now not of leisure or hilarity yet of a deep non secular and philosophical quest by means of a massive and profound mind. In 9 chapters, Olson addresses Corso from a vast philosophical standpoint and exhibits how Corso takes on specific philosophical matters and contributes to new understandings. Corso’s matters, like his effect, expand past the Beat new release as he speaks approximately issues that experience afflicted thinkers from the start of the Western culture, and his solutions provide provocative new openings for thought.  Corso could possibly be crucial Catholic poet within the American literary canon, a visionary like Burroughs and Ginsberg, whose paintings illuminated a new release. Written in a full of life and fascinating sort, Gregory Corso: Doubting Thomist seeks to maintain Corso’s reminiscence alive and eventually delve absolutely into Corso’s poetry.

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Additional info for Gregory Corso: Doubting Thomist

Sample text

Corso: Well, I know only by their printings. Some have had ten printings, some only one. But I don’t know how many copies Laughlin comes out with a printing. I think 10,000 maybe. Ferlinghetti or Ginsberg, their things go into like 100,000. Mine not that much, but they keep on going, every year I get from these three books maybe two thou, something like that. (149) Many critically acclaimed novelists would be satisfied with such runs, as the literary novel becomes more and more the work of the rarefied artist and less a popular art form.

Corso’s worldview isn’t Marxist; it is Thomist. If he had been a Marxist, there would have been profound bitterness toward the upper-class woman reflected in the poem. However, there is no such bitterness or contempt. This is where Corso departs from Bakhtin, who was writing within a Marxist framework and showed hatred for the upper classes in his writings. Corso’s poem has no trace of this. It simply records what happened. How would this Thomist or even Franciscan background translate into today’s political terms?

As Gregory Stephenson says: The central motif of the poems in this collection [The Vestal Lady on Brattle] is that of a predatory devouring or destruction of innocence and beauty. This theme is first treated in the title poem of the collection where an aged woman devours a child; a vampyric, cannibalistic act that is apparently part of her daily regimen. In “You Came Last Season,” a lover consumes his beloved, while the poem “Coney Island” presents a comedian-crab and a fungi-man whose common and consuming interest is eating the feet of the 33 Corso and the Great Chain of Being bathers on the beach.

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