How is the image of Keats “constellated,” as Walter Benjamin might say, in the romanticisms of our contemporary popular culture? This essay attempts to answer that question by exploring the “Keats effects” or what the poet Frank O’Hara calls “Keatsness”: the particular pulses of his poetic and cultural charge, at the charged moment of his own popularity in and outside his circle and as his poems and images have entered the currency of our own contemporary cultural discourses, what biographers of Romantic poets like to call our “popular imagination.” This essay pursues two discursive strains of the Keats effects: on the one hand, the distinctively Keatsian cocktail of outsider and outsized Cockney ambitions, restless experimentation with revered and popular forms, artistic and poetic allusions, complete with devoted fans and fiercely reactionary enemies; and on the other hand, the indelible and affecting record of personal pathos, the doomed poet whose fragile beauty is inseparable from the poems themselves, their making, their reception, and the fate of their maker. I consider how both of these Keats effects posit modes of impossibility that remain impossibly beautiful.