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Rimbaud and Jim Morrison: The Rebel as Poet

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Wallace Fowlie, a French scholar, translator and commentator on many French poets, has written this short book on the connections between the lives and writings of Rimbaud and Morrison, two symbols of youthful, creative rebellion who lived more than a century apart. Unfortunately, while the short memoir of how Fowlie first came to connect these two figures is interesting and worthy of a short journalistic piece, the bulk of this book contains nothing more than truncated and regurgitated biographical sketches of Rimbaud and Morrison and disparate commentary on some of their writing. Fowlie, who published an English translation of Rimbaud's collected poems in 1966, first heard of Morrison when he received a letter from him in 1968 thanking him for the English translation. Morrison implied that Rimbaud was an important writer for him: "I don't read French that easily . . . I am a rock singer and your book travels around with me." Fowlie didn't know of Morrison until, many years later, he heard some of the music and lyrics of The Doors and recognized the influence of Rimbaud on the writing of Morrison. Fowlie's memoir relates how his discovery of these connections led to a series of lectures on Rimbaud and Morrison, lectures which were (not surprisingly!) received with enthusiasm and interest by his young college students at Duke and elsewhere. Fowlie's discussion of Rimbaud's poetry, in addition to being cursory, can only be understood with a copy of his poems close at hand; without reading the poems in their entirety, Fowlie's commentary is largely unintelligible. With respect to Morrison, Fowlie does nothing more than regurgitate biographical details gleaned from other authors and discuss a few of Morrison's poems. Again, understanding the discussion of the poems suffers if you don't have the texts of Morrison's poems available. While Fowlie's prose is wonderful and his brief anecdote of the way that Morrison and Rimbaud connected in Fowlie's own life interesting, the bulk of the book in unremarkable and derivative.

Wallace Fowlie seems like a sweet man, but as he would admit himself, he knows very little about Jim Morrison. His book, though somewhat interesting, is ridiculously full of simplistic error on matters Morrisonian, such as his statement that "L.A. Woman" is the least-praised album ever put out by the doors (Dr. Fowlie, that would be "The Soft Parade,") and numerous other boo-boos that render many of his conclusions somewhat dubious. It's a gentle ramble, but not serious analysis; a curiosity more than an academic study.

if wallace fowlie was going to write a book about the similarities between arthur rimbaud and jim morrison, couldn't he have at the very least learned just a few things about morrison and wrote some new thoughts or little known facts about rimbaud, rather than just cutting and pasting from his old study of the surrealist legend? anyone who is even mildly acquainted with his work on the adolescent rimbaud will have at first a strange but strong sensation of deja vu while reading this book, and if they have a decent memory, will realize that most of the passages in this book were lifted from his earlier work. some people will see this as acceptable because most of the info and commentary is poignant and accurate (if not very penetrating and a tad superficial), but i find it a little disrespectful to the reader. as if we're not going to notice it when he rewrites, word by word, his previous work. it does have it's merits, and it is fairly entertaining to read his accounts of college lectures given on the two poets of youthful rebellion and the ideological similarities between the 60's counterculture and the philosophy of the surrealists, but there simply isn't enough substantial, original stuff in the book to make it truly memorable. it is worth reading, but only just.

Wallace Fowlie, emeritus of French and Italian Literature at Duke University and author of other great works, such as, Letters Between Henry Miller and Wallace Fowlie, accomplishes two major feats in Rimbaud and Jim Morrison: Rebel As Poet. Firstly, Fowlie brings to life and familiarizes Arthur Rimbaud to wide-eyed generations who would not neccesarily read Rimbaud in school textbooks. Second, with Fowlie holding one of the longest teching records in U.S. history, he takes and elevates Jim Morrison from the cheezy facade of rock star to the noble status of serious "poet" that could be respected in the world, not only of literature, but, also, the world of academia as well.

Although you would never guess it, Wallace Fowlie was in his early eighties when writing this book. I believe it to be amazing that a man of Fowlie's caliber, history, and age would find Jim's poetry so compelling that he would work to bring Jim up to the class of poet Jim's idol, Rimbaud, belonged to and head. Maybe now students can feel free to write about James Douglas Morrison in literary classes - using Fowlie's book as a reference - without an English professor arguing that the work is not valid because Jim Morrison was a rock star not a poet.

As you will discover while reading this book, a young rock star named Jim Morrison wrote to a Mr. Wallace Fowlie thanking him for his tranlations of Rimbaud's poetry and letters, and, I do believe, if James Douglas Morrison was alive today he would write to Wallace Fowlie once again to express his sincere thanks.

Wallace Fowlie gives us a fascinating comparison of the life and writing of Jim Morrison to Rimbaud. In 1968 Fowlie, a college professor of French literature, received a letter from Jim Morrison thanking him for his translation of Rimbaud. Morrison's name was meaningless to Fowlie, who was not familiar with the music of the Doors. After a student gave him a copy of No One Here Gets Out Alive, Fowlie noticed the references to Morrison's interest in Rimbaud, and recalling the letter, he started researching Morrison's life and his writing. He discovered many instances where lyrics were obviously influenced by Rimbaud. Using the mythical Jim Morrison as lure, Fowlie made French symbolist poetry come alive with his innovative lectures. By exploring the social and political conditions leading to the powerful poetry of both writers, Fowlie perpetuates their legacy of protest and rebellion.

As a teenager in the 60s, the music of the Doors slammed into my soul. Morrison's lyrics defined many of my generation as we deciphered and discussed them for countless hours. It has been well documented that Morrison wanted to be known as a poet rather than a singer/lyricist. He seemed to view poetry as the more intellectual pursuit. He is certainly correct in his belief that poetry can bear witness to the ills of society as well as the pain of an individual. Morrison is granted the credibility he craved in Fowlie's carefully researched and richly detailed analysis. The scholarly tone makes this book a welcome addition to the bookshelf of those who believe in the transformative power of poetry and music.

This book is a nice way to introduce the younger Morrison fan not already familiar with Rimbaud to his work, life and times. Someone already well acquainted with both poets will probably be disappointed. I applaud Mr. Fowlie's efforts, however, and the parallels drawn between the 2 men are well presented.

Wallace Fowlie, a French scholar, translator and commentator on many French poets, has written this short book on the connections between the lives and writings of Rimbaud and Morrison, two symbols of youthful, creative rebellion who lived more than a century apart. Unfortunately, while the short memoir of how Fowlie first came to connect these two figures is interesting and worthy of a short journalistic piece, the bulk of this book contains nothing more than truncated and regurgitated biographical sketches of Rimbaud and Morrison and disparate commentary on some of their writing.

Fowlie, who published an English translation of Rimbaud's collected poems in 1966, first heard of Morrison when he received a letter from him in 1968 thanking him for the English translation. Morrison implied that Rimbaud was an important writer for him: "I don't read French that easily . . . I am a rock singer and your book travels around with me." Fowlie didn't know of Morrison until, many years later, he heard some of the music and lyrics of The Doors and recognized the influence of Rimbaud on the writing of Morrison. Fowlie's memoir relates how his discovery of these connections led to a series of lectures on Rimbaud and Morrison, lectures which were (not surprisingly!) received with enthusiasm and interest by his young college students at Duke and elsewhere.

Fowlie's discussion of Rimbaud's poetry, in addition to being cursory, can only be understood with a copy of his poems close at hand; without reading the poems in their entirety, Fowlie's commentary is largely unintelligible. With respect to Morrison, Fowlie does nothing more than regurgitate biographical details gleaned from other authors and discuss a few of Morrison's poems. Again, understanding the discussion of the poems suffers if you don't have the texts of Morrison's poems available.

While Fowlie's prose is wonderful and his brief anecdote of the way that Morrison and Rimbaud connected in Fowlie's own life interesting, the bulk of the book in unremarkable and derivative.

Wallace Fowlie was a professor of French Literature at Duke University when he received a letter from Jim Morrison thanking him for writing a translation of French Symbolist Poet Arthur Rimbaud's poems. Fowlie, not knowing who Jim Morrison was filed the letter away with other correspondence. In 1980 a student of Fowlie's gave him a copy of the Morrison biography, No One Here Gets Out Alive, he made the connection with the letter he received 12 years before. He read the bio, and noticed all the references in it to Rimbaud and like many aging teachers trying to connect to students who might otherwise find the subject of French poetry dry or irrelevant, he started lecturing about Jim Morrison and his Rimbaud connection, and after a decade of expanding the lecture he committed it to a book, Rimbaud and Jim Morrison: The Rebel as Poet.

As a professor of French Literature it is to be expected that Fowlie would be more knowledgeable about the life and work of Rimbaud, and indeed he is, he writes an informed and interesting biography of Rimbaud, tracing his birth and upbringing in rural France whose military father was frequently away, and whose adventures Rimbaud fantasized about. And a domineering mother whom Rimbaud sought to escape. Rimbaud's early success' in academics and interest in wanting to be a poet aided in his running away to Paris and London in pursuit of his dreams, and Fowlie offers an in depth analysis of the poetry Rimbaud created between the ages of 16-19.

The shortcomings of this book become evident when Fowlie focuses on Morrison, his life, and his poetry. Fowlie gets facts of Morrison's life wrong, and doesn't offer much into any insight or meaningful analysis of Morrison's poetry. Reading the sections on Morrison's poetry you feel shortchanged at the ephemeral nature of the analysis. You almost can't blame Fowlie for this, he was already in his 60's when Morrison wrote to him, he was in his 70's when he started the lectures that would become the book, so you can hardly blame Fowlie for not being that interested or knowledgeable about Morrison. Fowlie readily admits that during his lectures students frequently added to his knowledge about Morrison. And, of course, the genesis of the lecture was to get his students interested in Rimbaud's work via Morrison, but when you write a book with dual subjects you have a duty to give equal consideration to both subjects.

This book is for The Doors fan who knows The Doors and Jim Morrison's story well, and is intrigued by Rimbaud and his poetry and would like to dive into the deeper waters of what Morrison called "pure poetry," but still wants or needs The Doors/Morrison connection.

Wallace Fowlie has always managed to combine serious literary criticism with personal, anecdotal prose, and this book may well be the best example. As he says repeatedly, the people who came to his lectures because they were Doors fans or Jim Morrison fans walked away knowing more about Rimbaud and French poetry than they ever thought they would. Fowlie also includes stories of his own experience lecturing which provide an interesting insight into one of the best translators and critics still living today.

Not only do Jim and Arthur have unbelivable talent, but thier lives are practicaly parallel. Startng from the lack of a father as children these men have lived similar lives. A well written book, "Rebel as Poet" displays this fact very well.