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Rimbaud and Jim Morrison: The Rebel As Poet (Anglais) Broché – 1 juillet 1994

4.5 étoiles sur 5 2 commentaires client

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Présentation de l'éditeur

Arthur Rimbaud, anarchic Symbolist poet of the nineteenth century, has been the inspiration of rock singers from Bob Dylan onwards. Jim Morrison, lead singer of the Doors, captured the imagination of millions during his lifetime, and since his untimely death in 1971 he has become a cult figure. Even today his grave in Paris is one of the city's most popular places of pilgrimage. Indirectly the two were brought together by the author of this book, whose translation of Rimbaud's poem was one of Morrison's most treasured possessions. In 1968 the singer wrote to Wallace Fowlie to thank him for his work, and fourteen years later, when Fowlie first heard the music of the Doors, he recognised the influence of Rimbaud in Morrison's lyrics. Intrigued, this esteemed professor of an illustrious university began to delve further. The result is a fascinating comparison of the brilliant and shocking lives of two young men, separated by a century, who sought to stretch experience to its limits and flashed like meteors across their respective eras to ignite an entire generation. Illustrated with rare photographs of Morrison and with portraits of Rimbaud from the author's private collection, "Rimbaud and Jim Morrison" is a penetrating analysis of the affinities between European literary tradition and the rock music and youth culture of the late twentieth century. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

Biographie de l'auteur

Wallace Fowlie is James B. Duke Professor Emeritus of French literature at Duke University, North Carolina. He is the author and translator of thirty books, including 'Rimbaud: a Critical Study' and 'The Complete Works of Rimbaud'. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

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Par Un client le 23 janvier 2003
Format: Broché
A wonderful book that finally recognizes Jim Morrison's poetic talent! It is neverthless regretable that the accounts of the two poets' life and work should be thus separated...The parallel is very relevant. Fowlie, with his extensive knowledge gives us an interesting reading of both poets.
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What a GREAT book, Wallace Fowlie is a really great writer, very interresting point of view. I'm a big fan of Jim Morrison, and I love french poetry, so, this is a perfect book for everyone who is interrested by poetry!!!
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Amazon.com: 3.6 étoiles sur 5 16 commentaires
17 internautes sur 18 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 An Interesting Memoir Padded with Derivative Commentary 27 mai 2000
Par Un client - Publié sur Amazon.com
Format: Broché
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.
11 internautes sur 12 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 an interesting novelty, but nothing special 5 novembre 2001
Par J from NY - Publié sur Amazon.com
Format: Broché
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.
6 internautes sur 6 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Fowlie Knowledgeable About Rimbaud, But... 25 novembre 1998
Par Un client - Publié sur Amazon.com
Format: Broché
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.
4 internautes sur 4 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Great On Rimbaud, Not So Good On Morrison 30 avril 2009
Par Jym Cherry - Publié sur Amazon.com
Format: Broché
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.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Beyond the legend of the Lizard King 12 novembre 2006
Par Nina Bennett - Publié sur Amazon.com
Format: Broché
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.
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