In my studies of the Gothic cathedral under François Bucher at college, when the gift of understanding was implanting itself as the ultimate experience of love, I heard that the medieval bells of the Gothic jewel were forged for cannon in the siege of 1870. It comes back now in a novelist's allusion - this was 1872, Rimbaud's eighteenth year, two years into his siege of the Muse. We've discussed Manet in passing, without mentioning his paintings of the catastrophe. But now in Rimbaud, who ignores the humiliation of France, the starvation of Paris and the butchery of the Commune in the moment he began to write?
What happens when the literal substance of the sound of peace is translated into that of war, we know as our transubstantiation of masculinity, itself. We appreciate how France's slaughter of its egalitarians would register as another radical contradiction in a youth, at least as intransigent as anything he met in Paris literary circles.
The flag goes to the filthy landscape, and our dialect stifles the drum.
On to city centers where we'll nourish the most cynical prostitution. We'll massacre logical rebellions.
On to peppery and waterlogged countries! at the service of the most monstrous industrial or military exploitation.
We read, we vote, we shape our own society, and our politics ordains what youth may learn. But they will know what the bells of St Denis are for, and who it is who calls for cannon.
We are raising their Rimbaud, and they will need him. For now, the one we have is good enough, for anyone who wishes he would speak.
Bruce Duffy
Disaster was my God
A novel of the outlaw
life of Arthur Rimbaud
Doubleday, 2011©
Alistair Horne
The Fall of Paris:
The Siege and the Commune
Macmillan, 1965©
Jean-François-Arthur Rimbaud
Les Illuminations
Démocratie
John Ashbery, translation
op. cit.
Daniel Mendelsohn
Rebel Rebel:
Arthur Rimbaud's Brief Career
The New Yorker
August 29, 2011©
iii Mathias Lauridsen