symbolist poet arthur rimbaud has nothing to do with this post

ANOTHER DAY, an­other ques­tion on Quora beg­ging for an an­swer from me. (Well, maybe not beg­ging, but look­ing like it re­quires my at­ten­tion.) Hope­fully, my an­swer will be un­like oth­ers that will be posted and if it doesn't in­form, will at least en­ter­tain.

The ques­tion was, Can you name an artist or mu­si­cian you had never heard of that peo­ple said was good and you dis­cov­ered those peo­ple were right? My an­swer can be found in­dented be­tween the two im­ages be­low.

 

ArthurRimbaud caricature Pericoli 600

Too many to list

The an­swer that every­body should have to the ques­tion, “Can you name an artist or mu­si­cian you had never heard of that peo­ple said was good and you dis­cov­ered those peo­ple were right?” should be “Too many to re­mem­ber” or “Too many to list.”

Any­one who can’t an­swer with one of the above or a vari­a­tion on one of the above is one of the be­low:

1)  A per­son that al­ready knows and likes every artist and mu­si­cian who has ever lived.
2)  A per­son that has a very nar­row field of ap­pre­ci­a­tion.
3)  A per­son that doesn’t like to ad­mit he was ever wrong about any­thing.

If it’s the first one, well, that is one amaz­ing hu­man be­ing!

If it’s the sec­ond one, there are var­i­ous ways that a per­son can learn about the as­tound­ing va­ri­eties of cre­ativ­ity we hu­man be­ings are ca­pa­ble of, such as tak­ing classes at lo­cal col­leges (Un­der­stand­ing French Sym­bol­ist Po­etry of the 19th Cen­tury Ap­pre­ci­a­tion, Cap­tain Beef­heart Ap­pre­ci­a­tion 101, In­tro­duc­tion to Mod­ern Art 101, etc.) and read­ing lots of books.

If it’s the third one, that’s the tough­est one to over­come: af­ter a cer­tain age (and it varies from per­son to per­son), about the only way most of us learn any­thing new is to ad­mit we were wrong about some­thing old.

All of us have this prob­lem to some de­gree; some peo­ple hav­ing what we prob­a­bly in­cor­rectly la­bel as a 'con­ser­v­a­tive' make-up have this prob­lem every day with everything.

French sym­bol­ist poet Arthur Rim­baud has noth­ing to do with this post but I found a great car­i­ca­ture of him so he's here! Click To Tweet

ArthurRimbaud caricature Pericoli 1500 crop

FEATURED IMAGE: The im­age at the top of this page is a car­i­ca­ture of French sym­bol­ist poet Arthur Rim­baud by artist Tul­lio Peri­coli. Here is what the Po­etry Foun­da­tion says about Rim­baud:

"It would be dif­fi­cult to over­es­ti­mate the in­flu­ence of Arthur Rimbaud’s po­etry on sub­se­quent prac­ti­tion­ers of the genre. His im­pact on the Sur­re­al­ist move­ment has been widely ac­knowl­edged, and a host of po­ets, from An­dré Bre­ton to An­dré Frey­naud, have rec­og­nized their in­debt­ed­ness to Rimbaud’s vi­sion and tech­nique. He was the en­fant ter­ri­ble of French po­etry in the sec­ond half of the nine­teenth cen­tury and a ma­jor fig­ure in sym­bol­ism."

 

 

 

 

3 Replies to “symbolist poet arthur rimbaud has nothing to do with this post”

  1. The poet/novelist Ken­neth Patchen is an­other. (Yes, Arthur Rim­baud as well.) I also in­clude the North­west draftsman/painter of the gen­er­a­tion be­fore mine: Bill Cum­ming. He cap­tured ex­pres­sive mo­ments of fig­ures in mo­tion — like Dau­mier, but in Pa­cific NW light.

    Many thought of him as down the rat­ing list for North­west painters (Mark To­bey, Mor­ris Graves, Guy An­der­son, Ken­neth Calla­han, and Richard Gilkey rank­ing ahead of him) but he is far and away my fa­vorite of the lot of them. Com­pletely self-taught too.

    1. The list of po­ets who have ab­solutely noth­ing to do with the post above is, for all prac­ti­cal pur­poses, end­less. And then there are all those artists who also have noth­ing to do with the ar­ti­cle. And, oy vey!, don't get me started on cab­bies in New York and the ever-growing num­ber of Uber dri­vers, all of whom have not a thing to do with any of the above ...

  2. I some­how ne­glected to men­tion Samuel Beck­ett, par­tic­u­lar be­cause of his tril­ogy and the novel lead­ing up to it: Mur­phy, Mol­loy, Mal­one Dies, and the Un­name­able. (He wrote "Wait­ing for Godot" to re­lax while tak­ing a break from writ­ing that four-book mas­ter­piece.)

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