I ran up six flights of stairs
to my small furnished room
opened the window
and began throwing out
those things most important in life.
First to go, Truth, squealing like a fink:
"Don't! I'll tell awful things about you!"
"Oh yeah? Well, I've nothing to hide ... OUT!"
Then went God, glowering & whimpering in amazement:
"It's not my fault! I'm not the cause of it all!"
"OUT!"
Then Love, cooing bribes: "You'll never know impotency!
All the girls on Vogue covers, all yours!"
I pushed her fat *** out and screamed:
"You always end up a ******!"
I picked up Faith, Hope, Charity
all three clinging together:
"Without us you'll surely die!"
"With you I'm going nuts! Goodbye!"
Then Beauty ... ah, Beauty—
As I led her to the window
I told her: "You I loved best in life
... but you're a killer; Beauty kills!"
Not really meaning to drop her
I immediately ran downstairs
getting there just in time to catch her
"You saved me!" she cried
I put her down and told her: "Move on."
Went back up those six flights
went to the money
there was no money to throw out.
The only thing left in the room was Death
hiding beneath the kitchen sink:
"I'm not real!" It cried
"I'm just a rumor spread by life ... "
Laughing I threw it out, kitchen sink and all
and suddenly realized Humor
was all that was left—
All I could do with Humor was to say:
"Out the window with the window!"
Gregory Corso (1930–2001)
Gregory Corso was a key member of the Beat movement, a group of convention-breaking writers who were credited with sparking much of the social and political change that transformed the United States in the 1960s. Corso's spontaneous, insightful, and inspirational verse once prompted fellow Beat poet Allen Ginsberg to describe him as an "awakener of youth." Although Corso enjoyed his greatest level of popularity during the 1960s and 1970s, he continued to influence contemporary readers and critics late into the twentieth century. Writing in the American Book Review, Dennis Barone remarked that Corso's 1989 volume of new and selected poems was a sign that "despite doubt, uncertainty, the American way, death all around, Gregory Corso will continue, and I am glad he will."
Born in 1930 to teenaged parents who separated a year after his birth, Corso spent his early childhood in foster homes and orphanages. At the age of eleven, he went to live with his natural father, who had remarried. A troubled youth, Corso repeatedly ran away and was eventually sent to a boys' home. One year later he was caught selling a stolen radio and was forced to testify in court against the dealer who purchased the illegal merchandise. While he was held as a material witness in the trial, the twelve-year-old boy spent several months in prison where, as he wrote in a biographical sketch for The New American Poetry, the other prisoners "abused me terribly, and I was indeed like an angel then because when they stole my food and beat me up and threw *** in my cell, I . . . would come out and tell them my beautiful dream about a floating girl who landed before a deep pit and just stared." He later spent three months under observation at Bellevue Hospital.
When Corso was sixteen, he returned to jail to serve a three-year sentence for theft. There he read widely in the classics, including Fyodor Dostoevsky, Stendahl, Percy Bysshe Shelley, Thomas Chatterton, and Christopher Marlowe. After his release in 1950, he worked as a laborer in New York City, a newspaper reporter in Los Angeles, and a sailor on a boat to Africa and South America. It was in New York City that he first met Ginsberg, the Beat poet with whom he was most closely associated. The pair met in a Greenwich Village bar in 1950 while Corso was working on his first poems. Until then he had read only traditional poetry, and Ginsberg introduced him to contemporary, experimental work. Within a few years Corso was writing in long, Whitmanesque lines similar to those Ginsberg had developed in his own work. The surreal word combinations that began to appear in Ginsberg's work about the same time may in turn suggest Corso's reciprocal influence.
Corso once explained his use of rhythm and meter in an interview with Gavin Selerie for Riverside Interviews: "My music is built in—it's already natural. I don't play with the meter." In other words, Corso believes the meter must arise naturally from the poet's voice; it is never consciously chosen.
Corso shaped his poems from 1970 to 1974 into a book he planned to call Who Am I—Who I Am, but the manuscript was stolen, and there were no other copies. Aside from chapbooks and a few miscellaneous publications, he did not issue other work until 1981 when Herald of the Autochthonic Spirit appeared. Shorter than any of his major books since Gasoline, it contains several critically acclaimed poems, many of them written in clipped, almost prosaic lines more reminiscent of William Carlos Williams than of Whitman. "Return" deals with barren times in which there had been no poems but also asserts that the poet can now write again and that "the past is my future." The new poems, however, are generally more subdued than the earlier ones, though there are surreal flights, as in "The Whole Mess . . . Almost," in which the poet cleans his apartment of Truth, God, Beauty, Death, and essentially everything but Humor.
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