Since his coming out as a queer in the 1950s, Allen Ginsberg has invariably revealed a lot of expressions encompassing the queerness and anti-aesthetics in his poetry. Ginsberg aspires to subvert the conventional sexual norms of his society of heterosexism which is based on the hierarchical gender dichotomy by rejecting sexual minorities. Many of his poems including a long poem “Howls” candidly show the human body’s sexual organs like genitals and anus reflecting the poet’s unbounded desires for homosexuality. However, it is important that Ginsberg’s self-examination and spiritual awareness lurk within his sexually explicit poems full of the deviant sexuality. By emphasizing the abject and abject bodies in his poetry, Ginsberg is able to create the new aesthetics of gender and sexual diversity which dissolves the traditional dichotomy of normal and abnormal, beauty and ugliness. This is exemplified in his poems like “Mescaline” and “Kaddish” in which the poet abjetifies both himself and his mother Naomi. Particularly, in “Kaddish,” Ginsberg minutely depicts the various abject bodily fluids within Naomi’s body and makes her “Monster of the Beginning Womb.” Ginsberg’s poems of queerness and anti-aesthetics emanating from his “multiple identities” play important roles in expanding the scope of modern poetry.