Cursed poets like Dino Campana we mentioned, Bukowski overseas-naturalized in the United States, the French from Baudelaire to Rimbault.
Now we have to extend to the writers and to the cursed ones in general or, as Colin Wilson would say, the Outsiders (here you can see the book on Amazon). For Colin Wilson, in fact, literature is studded with outsiders and is reduced to a personal matter of individual writers. Then Dostoevsky epileptic for the Brothers Karamazov. Dino Campina schizophrenic for the Orphic Songs (Umberto Saba was right about this, he said: “Dino Campana is not a poet, he is just a fool”). Gadda depressed in Pasticcia. It seems to neglect the value of written works during their moments of health.
Among the cursed prose writers we must also include many sixty-eight like Luciano Bianciardi, and Curzio Malaparte quoted in Damned Lives, where they are analyzed with greater human and artistic depth.
On the more multi-faceted artistic side we insert Carmelo Bene (author of I appeared at the Madonna, actor, writer, director), Vincent Gallo (director, painter, model, singer).
In music-literature we insert the Nobel prize (for literature among other things) Bob Dylan singer outsider, but also poet of the lyrics.
Vincent Gallo, remembered for progressive music like Laura, inspired by King Crimson, and scandalous films like Brown Bunny, or originals like Buffalo’66. Films in cool colors with the eccentric and narcissistic actor who kidnaps a girl without wanting to hurt her. The girl (Christina Ricci), understands the mechanism and accepts it until unexpected consequences. If you are interested in the film, it deserves a vision (in my case, many visions) and you can find it here on Amazon. The protagonist, precisely Vincent Gallo, gets out of prison only to pee and then performs these actions. The film could be classified in a comedy, but the colors and the tone so cold and different make you think of a quote from the stylistic elements of the horror genre (although nothing ever happens).
Bob Dylan, is different, similarly linked to the figure of the tramp, of the gypsy, on tour of his concerts. At the same time linked to the beat generation (thanks to his friend Allen Ghinsberg). Also in this case we are in the side b, or rather in the outsider and at the same time in the cultured symbolism of the texts in which the drugs typical of the beat generation of a bare-bones William Bourrughs enter only marginally (in Dylan for example Subterrean Homesick blues and Mr Tambourine). It is no coincidence that Naked lunch has also become a movie, when Cronenberg turned it into a breathless horror.