This article discusses the work of Allen Ginsberg (1926-1997); one of the most central figures in the American postwar poetic movement generally known under the term “Beat Movement"; also known as “Beat Generation" (Aronowitz 22, Bruce 3). It will discuss his aesthetics in terms of this movement's cultural ideals of anti-establishment, anti-hegemony and anti-elitism, as well as its formal aesthetic practices of unfamiliarity, fluidity of structure, particularity of vocabulary/phraseology, and purist emotional content. It will argue, that the aesthetics of Ginsberg, and of his Beat Generation fellow poets, have been perhaps the first in the history of 20^th century poetics to actively and consciously close up the gap between art and life attempting to actually live their poetry or, better still, produce a sort of poetics that is, itself, their very living and breathing lives. By contrast to many of the poetic experimentations across the 20^th century, which, more or less, enacted the art-for-art's-sake emblem with varying degrees of success, the Beat poets, represented here by Ginsberg, enact a radically different poetics where art and life are all but practically inseparable. Ginsberg's work, and the Beat Generation's at large, offer a poetics wholly entrenched in the individualist existential dilemmas and strive for being; an attempt for a complete integration of subject and language in poetic form.