The Time of the Assassins: a Study of Rimbaud

ISBN: 0811201155
ISBN 13: 9780811201155
By: Henry Miller

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About this book

The social function of the creative personality is a recurrent theme with Henry Miller, and this book is perhaps his most poignant and concentrated analysis of the artist's dilemma.

Reader's Thoughts

noura

مصافحة أولى، لكتابٍ عن رامبو، أو كتابٍ من ميلر. لم أجد ما كنت أتوقع أن أجده في الكتاب. لكني بالصدفة والتجربة، تعرفت على مترجمٍ رائع. أحببت الترجمة، المهمة التي قد تقتل أجمل الكتب، لذا للمستقبل، تذكري نورة، سعدي يوسف مترجمٌ جيد.

Fawaz Ali

كتاب جدير بالقراءة إذ أن هنري ميللر يسبر أغوار شخصية الشاعر رامبو ويغوص في أعماق كل شاعر مرهف الأحاسيس، كما أنه يعطينا دروساً روحية في مجتمع طغى عليه الجانب المادي...

Faisal AlHebainy

لو كنت من هنري ميللر، لخجلت كثيرًا من نشر هذا الكتاب. رامبو من أقرب الشعراء إلى قلبي، مع بليك ودانتي، إلا أن كتاب ميللر لم يعجبني أبدًا. وعمومًا، يُقرفني كثيرًا تقديس الإنسان لإنسانٍ آخر.

Bryce Digdug

An amazing essay about Rimbaud's giving up art and how, in general, people have given up on life and are the living dead. I would say especially under G.W. Bush! In general, about how society is crushing to individuality and what potential we have to create a society beyond our dreams.

John Doe

A child prodigy who gives up poetry at the height of his powers (when he is eighteen!), Rimbaud embarks on a life of adventure (selling guns, slaves and coffee). Miller identifies with Rimbaud (his life as much as his writings). I always kind of identified with Miller because I feel a connection for those without a place in the world. Rimbaud is Miller's favorite writer, and this book contains some of Miller's best writing.For example:"And what is the nature of this secret? I can only say that it has to do with mothers. I feel that it was the same with Lawrence and with Rimbaud. All the rebelliousness which I share with them derives from this problem which, as nearly as I can express it, means the search for one's true link with humanity. One finds it neither in the personal life nor in the collective life, if one is of this type. One is unadapatable to the point of madness. One longs to find his peer, but one is surrounded by vast empty spaces. One needs a teacher, but one lacks the humility, the flexibility, and the patience which is demanded...One has to establish the ultimate difference of his own peculiar being and doing so discover his kinship with all humanity, even the very lowest. Acceptance is the key word. But acceptance is precisely the great stumbling block. It has to be total acceptance and not conformity."

Taylor

I haven't read anything by either Henry Miller or Arthur Rimbaud. I know that must make me sound stupid, but it's the truth, and thought this, a study of Rimbaud by Miller, would be an interesting intro to the both of them. I wasn't expecting it to be a perfect companion to nearly all of the thought I had been working through this year, from Nietzsche to Foucault, Freud, and Kristeva, it brought everything together in a blindsiding of interpretation.It's about Rimbaud, but more about his life as an example of the trials and travails of the artist/thinker in the 19th century. Miller is of course quick to point out that things haven't changed, and poets of all kinds still face the hardships that thwarted Rimbaud. In so doing It provides the clearest and most concise interpretation of 19th century thought and literature that I've ever come across without really trying.Oh, and it's beautiful:"Rimbaud plucks his heart out and devours it slowly. And so the world gradually comes to resemble the time of the curse. The birds drop from the air, dead before they arrive. The wild beasts gallop to the sea and plunge. The grass withers, the seed rots. Nature takes on the barren, deformed look of a miser, and the heavens mirror the emptiness of the earth. The poet, jaundiced from riding the wild mare over lakes of steaming asphalt, slits its throat. In vain he flaps his rudimentary wings. The Fabulous opera collapses and howling wind rends the props. Save for the furious and most ancient witches, the heath is deserted. Like harpies, armed each and every one with grappling hooks, they fall upon him. Theirs is a more earnest greeting than that visionary brush with his Satanic Majesty. Nothing lacks now to complete the concert of hells he once begged for."I wasn't sure where my pleasure reading course was pointing this summer, and I think it was just handed to me. I'm off to 'A Season in Hell.'

Lynne King

I read this book about twenty years ago and was reminded of it this morning by another reviewer on Goodreads.On browsing through this now, I had forgotten how interesting this French poet was and I do believe that Henry Miller has done an admirable job here. It is worth having this book purely to read Anthony Burgess' introduction if nothing else.I was particularly taken with Burgess' statement:"Anyone looking in his (Miller's) essay for a detailed critical account of Rimbaud's work, or a study of his life, will be disappointed. That kind of thing can be safely left to Enid Starkie. Miller is using Rimbaud as a pretext to deliver his own judgements on the world and to affirm that the boy poet was a prophet of the final collapse of civilization in the twentieth century. The essay was written in 1946, after the potential of the atomic bomb of Hiroshima and Nagasaki, and Miller can be excused for believing that the collapse of civilized order was coming, if not the extinction of mankind itself. Rimbaud as a prophet of breakdown - the time of the assassins - and Miller, feeling himself to be something of a prophet too, found an affinity with the poet."An excellent book and highly recommended.

Mariana

Esse livro merece ser estudado, embora seja literatura. Crítica da civilização moderna, uma paulada!

Tara

A study of Rimbaud as autobiography: “How true, that activity is not life! Where is life, then? And which is the true reality? Certainly it cannot be this harsh reality of toil and wandering, this sordid scrimmage for possessions?”

علی

هنری می لر جدای از نویسندگی، گزارش ها و روایت های جالبی دارد که گاه از داستان هایش بهتر و برتر اند. از جمله چند روایتی که در این کتاب آمده و خوشبختانه توسط عبدالله توکل به فارسی برگردانده شده و توسط انتشارات زمان در 1363 چاپ و منتشر شده است.

Stefan

Not completely sure what I think of this. At times Miller's overly ecstatic and it's a turnoff, but it is an interesting look into an enigmatic artist read by another artist. He theorizes about what may Rimbaud may have been leading towards had he not died. Not very long, I should just finish it.

Folkert Wierda

Sometimes you need to get out of your comfort zone, and with this I did, big time. It was recommended to by by a friend, and so I put it on my Amazon wish list, after which a far-away and never-met Facebook friend got it for me as a birthday present.First of all: I am quite an analytical person, and never have seen anything in poetry. Also I do not listen to texts from songs, I listen to the music. So maybe I lack the background and experience to appreciate books like this work by Miller. But here are my observations and impressions.I understand that comparisons, hyperbole and symbolism can sometimes work to clarify the point an author wants to make. But when a book consists only of comparisons, hyperbole and symbolism I get irritated, as it is not anymore supporting the aim of the author to communicate his ideas, but much more makes the impression of being an attempt to impress and confuse.Also Miller seems very fond of Dialectical contradictions, I started counting them per page. Now and then this form can be powerful, but if every second sentence contains such forms it gets boring and counter productive.Interesting that Miller included lots of passages in original French. Nice to practice after many years, but not really helpful in conveying his message.The book is about a prodigy French poet who writes until he is 18 and then "looses it". I could imagine the firm of a literary biography would work and would make sense. The form that Miller choses (what form is it?) makes me lose the message, or not getting it.As admitted in the beginning: I am fully aware that I may not have the "equipment" to enjoy this kind of books. In that case this review is more about me than about Miller. But aren't reviews always a lot about the reviewer?

Eduardo Sangarcía

Uno de los más apasionantes estudios sobre la figura de Rimbaud con el que me he topado hasta ahora. Miller no intenta explicar el genio y el actuar del joven poeta porque lo comprende a fondo; entiende su hastío, su ira hacia Occidente, su odio hacia la madre y el orden porque lo comparte. Comprende incluso el pasaje que más desconcierto ha causado en todos los lectores y estudiosos de Rimbaud: su abandono de la poesía. Lo entiende y delicita a Arthur por tener las agallas suficientes para hacer eso que tantos de nosotros - incluido el mismo Miller - ha querido hacer sin atreverse: mandarlo todo al diablo, hacerle una seña obscena a nuestra civilización y partir en busca de la "vida verdera"En Rimbaud, Miller ve la conjunción de dos tiempos: el antiguo - tiempo de los asesinos que, por desgracia, es aún el nuestro - y el moderno, donde una vez zanjadas las contradicciones entre el individuo y la colectividad, el ser humano conocerá su verdadero esplendor.Frases memorables:"El estado y la condición del poeta revela, sin lugar a dudas, el verdadero estado de la vitalidad de un pueblo. En China, Japón, África y la India, la poesía es aún indestructible." (p.9)"Vivimos enteramente en el pasado, nutridos de pensamientos muertos, de credos muertos, de ciencias muertas. Es el pasado, no el futuro, lo que nos devora. El futuro siempre ha pertenecido y pertenecerá al poeta." (p. 11)"El hombre nuevo se encontrará a sí mismo sólo cuando haya cesado la pugna entre la colectividad y el individiduo. Entonces veremos al tipo humano en todo su esplendor." (p. 16)"Todo escritor crea algunos pasajes obsesionantes, ciertas frases memorables, pero en Rimbaud son incontables, están en todas las páginas, como gemas caídas de un cofre saqueado." (p. 24)"Creo que nuestra tarea futura consiste en explorar los dominios del mal hasta que no quede en pie ni pizca de misterio. Descubriremos las amargas raíces de la belleza, aceptaremos la raíz y la flor, la hoja y el brote. Ya no podemos resistir al mal; debemos aceptarlo." (p. 35)"Así, o renunciamos como él a todo cuanto nuestra civilización a representado hasta hoy y tratamos de empezar de nuevo, o la destruimos con nuestras propias manos." (p. 35)"¿Cuál es la principal emoción que inspiran actualmente nuestros grandes descubrimientos? El espanto. Poseemos el conocimiento sin la sabiduría, la comodidad sin la seguridad, la creencia sin fe. La poesía de la vida se expresa en fórmulas matemáticas, físicas o químicas [...] El mundo se ha convertido en número. La dicotomía moral, como todas las dicotomías, a fracasado. Ésta es la era del cambio y del riesgo; la gran deriva ha comenzado [...]Todo lo hemos trastocado y nadie sabe dónde ni cómo hallar la llave de control. Los frenos están ahí, pero ¿funcionan? Sabemos que no. El demonio está en libertad [...] Esta es la edad del poder puro y simple. Se trata ahora del cielo o el infierno; ya no hay alternativa; y según todos los indicios, elegiremos el infierno." (p. 36)"Nunca hemos pensado el poder desde el punto de vista del bien; siempre lo hemos hecho desde el punto de vista del mal. Nada hay de misterioso en la energía del átomo; el misterio está en el corazón humano. El descubrimiento de la energía atómica está sincronizado con el descubrimiento de que nunca podremos volver a confiar los unos en los otros [...] la pérdida de fe es universal. Hasta Dios es impotente para evitarlo. Hemos puesto toda nuestra fe en la bomba y es la bomba la que responderá a nuestras plegarias." (p. 37)"Hemos alcanzado el último estadio del egotismo, del estado atómico del ser. Vamos a hacernos añicos. Estamos preparando la muerte del pequeño yo para que pueda emerger el verdadero." (p.38) "¿Qué artista del lenguaje ha sabido conmover recientemente al mundo como lo ha hecho Hitler? ¿Algún poema ha sacudido a la humanidad como la bomba atómica?" (p. 39)

Vox Vincit Omnia

This is my favorite book of all time. A must read for anyone interested in squeezing every drop out of this toothpaste tube called life.

Bea Kwan

I like Miller and I love Rimbaud but this whole book was basically like: "Rimbaud's did *this* in his life! Rimbaud was like this!" "Hey whoa I did *that* in my life too and I'm also like that!" slobber slobber slobber

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