Patti Smith

by Just Kids

  Robert’s uncomplicated Polaroid Land 360 did not require a light meter and the settings were rudimentary: darker, lighter. Small icons indicated distance: close, near, far. His early use of the unfettered Polaroid was perfect for his impatient nature. He had moved seamlessly into the larger-format Hasselblad, which was stolen from Twenty-third Street. At Bond Street, Robert bought a Graphic camera fitted with a Polaroid back. The 4x5 format suited him. Polaroid was now producing positive/negative film, making it possible to produce first-generation prints. With Sam’s backing, he finally had the resources to realize his vision for each photograph and was able to commission a carpenter, Robert Fosdick, to construct elaborate frame designs. In this way he went much further than simply incorporating his photographs into collages. Fosdick understood Robert’s sensibilities and meticulously translated Robert’s sketches into sculptural frames, a synthesis of geometric designs, planes, and images for the presentation of his photographs.

  The frames greatly resembled the drawings that Robert had done in the sketchbook he had given me in 1968. As in the past, he saw the completed thing almost immediately. This was the first time he was able to fully realize these visions. This was largely due to Sam, who had come into even more money with the death of his beloved mother. Robert sold some work, but he still wanted nothing more than to make it on his own.

  Robert and I took a lot of photographs at Bond Street. I liked the atmosphere there and I thought we took really good pictures. They were easily taken against the backdrop of the whitewashed brick walls and were bathed in beautiful New York light. One of the reasons we took such good pictures there is that I was out of my element. There were none of my things to clutter the picture, for me to identify with, or hide behind. Even as Robert and I parted as a couple, our photographs became more intimate, for they spoke of nothing but our common trust.

  Sometimes I would sit and watch him photograph himself in his striped robe, and then slowly removing it, and then naked, suffused with light.

  When we shot the cover for Wtt, my new book of poems, I had it in my mind that the cover would have a saintly look, like a holy card. Although Robert did not like direction, he was sure he could satisfy us both. I went to Robert’s loft and washed in his shower so I would be freshly clean. I combed my hair away from my face and wrapped an old Tibetan robe made of tea-colored linen around me. Robert took a handful of pictures and said he had the photograph he needed for the cover, but he was so pleased with the pictures that he kept shooting.

  On September 17 Andy Brown hosted a party to celebrate the release of my book, as well as the first exhibition of my drawings. Robert had gone through my drawings, selecting the ones to be shown. Sam paid to frame them, and Jane Friedman’s friend Dennis Florio framed them in his gallery. Everyone pitched in to help make it a good show. I felt that I had found my niche, my drawings and poems appreciated. It meant a great deal to see my work hung in the very bookshop that in 1967 hadn’t a slot open to hire me.

  Wtt was very different from Seventh Heaven. Where the poems in Seventh Heaven were lighter, rhythmic, and oral, Wtt made use of the prose poem, reflecting the influence of French Symbolists. Andy was impressed with my growth, and he promised me that if I wrote a monograph on Rimbaud he would publish it.

  A new scheme burrowed in my veins, which I presented to Robert and Sam. Since my Ethiopia excursion had been scrapped, I thought I could at least make a pilgrimage to Charleville, France, where Rimbaud was born and buried. Unable to resist my enthusiasm, Sam met me halfway and agreed to help finance the trip. Robert had no objection since there were no hyenas in France. I decided to go in October, the month of Rimbaud’s birth. Robert took me shopping for a proper hat, and we chose one of soft brown felt with a grosgrain ribbon. Sam sent me to an optometrist where I was fitted for National Health–style spectacles, in honor of John Lennon. Sam gave me enough money for two pairs, considering my penchant for leaving things behind, but instead I chose an impractical pair of Italian sunglasses that only Ava Gardner could pull off. They were white cat’s-eyes, nestled in a gray tweed case stamped Milan.

  On the Bowery I found an unconstructed raincoat of kelly green rubberized silk, a Dior blouse of gray houndstooth linen, brown trousers, and an oatmeal cardigan: an entire wardrobe for thirty dollars, just needing a bit of washing and mending. In my plaid suitcase I placed my Baudelaire cravat, my notebook; Robert added a postcard of a statue of Joan of Arc. Sam gave me a silver Coptic cross from Ethiopia, and Judy Linn loaded up her small half-frame camera and showed me how to use it. Janet Hamill, who had returned from her own journey to Africa, where she passed through the region of my dreams, had brought me back a handful of blue glass beads—scarred trade beads from Harar—the same beads that Rimbaud had traded—as a cherished souvenir. I slipped them in my pocket as a good-luck talisman.

  Thus armed, I was ready for my journey.

  My impractical raincoat barely protected me from the chilly autumn drizzle in Paris. I retraced some steps my sister and I had made in the summer of 1969, though without her bright presence, the quai Victor Hugo, La Coupole, and the enchanted streets and cafés seemed very lonely. I walked, as we had walked, up and down the boulevard Raspail. I located our street where we resided at 9 rue Campagne-Première. I stood there in the rain for some time. I had been drawn to this street in 1969 as so many artists had lived here. Verlaine and Rimbaud. Duchamp and Man Ray. It was here, on this street, where Yves Klein contemplated his famous blue and where Jean-Luc Godard shot precious bits of Breathless. I walked another block to the Montparnasse cemetery and paid my respects to Brancusi and Baudelaire.

  Guided by Enid Starkie, Rimbaud’s biographer, I found the Hôtel des Etrangers on the rue Racine. Here, according to her text, Arthur slept in the room of the composer Cabaner. He also was found sleeping in the lobby, in an oversized overcoat and crushed felt hat, shaking off the residue of a hashish dream. The desk clerk treated me with gentle humor. I explained, in my terrible French, the nature of my mission and why I yearned to stay the night in this particular hotel. He was sympathetic, but all the rooms were occupied. I sat on the musty couch in the lobby, unable to bear the rain again. Then, as the angels winked, he motioned me to follow him. He led me upstairs to a door, which opened upon a small winding staircase. He searched through his keys and, after a few false starts, triumphantly opened an attic room. It was empty save for a wooden chest with carved maple leaves and a horsehair mattress. Rays of filthy light filtered through the slanted skylight.

  —Ici?

  —Oui.

  He gave me the room for a small price and for a few francs extra added a candle and some sheets. I draped the sheets on the lumpy mattress that seemed to contain the impression of a long, rugged body. I quickly set up camp. Night was falling and I arranged my things around the candle—the picture of Joan of Arc, a copy of Paris Spleen, my pen and a bottle of ink. But I could not write. I could only lie upon the horsehair and stretch into its ancient impression of sleep. The candle was a pool in a dish. I slipped into unconsciousness. I did not even dream.

  At dawn the gentleman brought me a cup of hot chocolate and a brioche. I partook of it gratefully. I packed my few belongings, dressed, and headed to Gare de l’Est. I sat on a leather seat across from a governess and a small boy who slept. I had no idea what I’d find or where I’d stay, but I trusted in fate. Arriving at Charleville at twilight, I searched for a hotel. I was a bit uneasy walking alone with my little suitcase without a soul around but I somehow found one. Two women were folding linens. They seemed surprised, suspicious of my presence, and spoke no English. After some awkward moments, I was led upstairs into a pretty room. Everything, even the canopy of the four-poster bed, was covered in flowered chintz. I was very hungry, and was given some hearty soup with country bread.

  But once again, in the silence of my room, I found I could not write. I fell asleep early and awoke early. Filled with new resolve, I threw on my raincoat and hit the Charleville streets. To my dismay,
the Musée Rimbaud was closed, so I walked in an atmosphere of silence down unknown streets and found my way to the cemetery. Behind a garden of huge cabbages lay the resting place of Rimbaud. I stood there for a long time looking at the gravestone, with the words Priez pour lui—Pray for him—etched over his name. His grave had been neglected, and I brushed away the fallen leaves and bits of debris. I said a small prayer as I buried the blue glass beads from Harar in a stone urn before his headstone. I felt, since he had been unable to return to Harar, that I should bring a bit of Harar to him. I took a photograph and said goodbye.

  Musee Rimbaud, Charleville, 1973

  I went back to the museum and sat on the steps. Here Rimbaud had stood, in contempt for all he saw, the stone mill, the river rushing beneath a limestone bridge, that I now revered just as he despised it. The museum was still closed. I was feeling a bit woebegone when an old man, a caretaker perhaps, took pity on me and unlocked the heavy door. While he performed his duties, he allowed me to spend time with the humble belongings of my Rimbaud: his geography book, his valise, his tin drinking cup, spoon, and kilim. I saw the places he had mended within the folds of his scarf of striped silk. There was a small scrap of paper with his drawing of the litter that he would lie upon as the bearers walked across the rocky terrain to the shore where a ship would take him dying to Marseille.

  That night, I had a simple meal of stew, wine, and bread. I went back to my room, but I could not bear to stay there alone. I washed and changed clothes, slipped on my raincoat, and ventured into the Charleville night. It was quite dark and I walked the wide and empty quai Rimbaud. I felt a little afraid, and then, in the distance, I saw a tiny light, a neon sign—Rimbaud Bar. I stopped and took a breath, unable to believe my good fortune. I advanced slowly, afraid it might disappear like a mirage in the desert. It was a white stucco bar with one small window. There was no one around. I entered tentatively. It was dimly lit and mainly inhabited by boys, angry-faced fellows, leaning against the jukebox. A few faded pictures of Arthur were tacked on the walls. I ordered a Pernod and water, as it seemed the closest to absinthe. The jukebox played a crazy mix of Charles Aznavour, country tunes, and Cat Stevens.

  After a time, I left, and returned to the warmth of my hotel room and its provincial flowers. Tiny flowers spattering the walls, just as the sky had been spattered with budding stars. This was the solitary entry in my notebook. I had imagined that I would write the words that would shatter nerves, honoring Rimbaud and proving everyone’s faith in me, but I didn’t.

  The following morning I paid my bill and left my bag in the lobby. It was Sunday morning and the bells were tolling. I wore my white shirt and black Baudelaire ribbon. My shirt was a bit rumpled, but so was I. I returned to the museum, which was thankfully open, and bought my ticket. I sat on the floor and made a small pencil drawing—St. Rimbaud, Charleville, Octobre 1973.

  I wanted a souvenir, and found a little flea market on the place Ducale. There was a simple ring of gold wire, but I could not afford it. John McKendry had given me a similar ring when he returned from a trip to Paris. I remembered him lying on his elegant daybed while I sat at his feet and he read me passages from A Season in Hell. I imagined Robert here by my side. He would have gotten me the ring and slipped it on my finger.

  The train ride to Paris was uneventful. I realized at one point I was crying. Once in Paris, I boarded the Métro to the station Père-Lachaise, for I had one more thing to do before returning to New York. It was raining again. I stopped at a florist just outside the cemetery walls and bought a small bundle of hyacinths and proceeded to search for Jim Morrison’s grave. At that time there was no marker, and it was not easy to find, but I followed messages scrawled by well-wishers on neighboring headstones. It was completely silent, save the rustling of autumn leaves and the rain, which was becoming more pronounced. On the unmarked grave were gifts from pilgrims before me: plastic flowers, cigarette butts, half-empty whiskey bottles, broken rosaries, and strange charms. The graffiti surrounding him were words in French from his own songs: C’est la fin, mon merveilleux ami. This is the end, beautiful friend.

  Jim Morrison’s Grave

  I felt an uncommon lightheartedness, not sad at all. I felt that he might silently step from the mist and tap me on my shoulder. It seemed right for him to be buried in Paris. The rain began in earnest. I wanted to leave because I was so wet, but I felt rooted. I had the uneasy feeling that if I did not flee I would turn into stone, a statue armed with hyacinths.

  In the distance I saw an old woman dressed in a heavy coat, holding a long pointed stick and dragging a large leather bag behind her. She was cleaning the gravesites. When she saw me, she began to shout at me in French. I begged her forgiveness for not speaking the language, yet I knew what she must be thinking. She looked at the grave, and at me, in disgust. All the pitiful treasures and the surrounding graffiti were to her nothing but desecration. She shook her head, muttering. I was amazed at her disregard for the torrential rain. Suddenly she turned and gruffly cried in English: “American! Why do you not honor your poets?”

  I was very tired. I was twenty-six years old. All around me the messages written in chalk were dissolving like tears in the rain. Streams formed beneath the charms, cigarettes, guitar picks. Petals of flowers left on the plot of earth above Jim Morrison floated like bits of Ophelia’s bouquet.

  “Ehh!” she cried again. “Answer me, Américaine! Why do you young people not honor your poets?”

  “Je ne sais pas, madame,” I answered, bowing my head.

  “I do not know.”

  On the anniversary of the death of Rimbaud, I gave the first of my “Rock and Rimbaud” performances, reuniting me with Lenny Kaye. It was held on the roof of Le Jardin, in the Hotel Diplomat off Times Square. The evening began with the Kurt Weill classic “Speak Low,” saluting Ava Gardner’s depiction of the goddess of love in One Touch of Venus, accompanied by the pianist Bill Elliott. The balance of the program consisted of poems and songs revolving around my love of Rimbaud. Lenny and I reprised the pieces we had done at St. Mark’s, and added the Hank Ballard song “Annie Had a Baby.” We looked out at the crowd and were amazed to see people ranging from Steve Paul to Susan Sontag. For the first time it occurred to me that, instead of this being a onetime event, we had the potential of something to build on.

  We weren’t quite certain where we could take this, since the Broadway Central had collapsed. What we were doing was so undefined and there seemed to be no suitable venues. But the people were there, and I believed we had something to give them, and I wanted Lenny to be a permanent part of the equation.

  Jane did her best to find us places to play, which was no easy task. Occasionally I read poetry at a bar, but would spend most of my allotted time sparring with drunken patrons. These experiences did much to sharpen my Johnny Carson repartee but little to advance the communication of poetry. Lenny joined me the first time I played at the West End Bar, where Jack Kerouac and his buddies had once written and drunk, but not necessarily in that order. We made no money, but at the end of the night Jane rewarded us with a great piece of news. We had been asked to open for Phil Ochs at Max’s Kansas City in the last days of the year. Lenny Kaye and I would spend both of our December birthdays and New Year’s Eve merging poetry and rock and roll.

  It was our first extended job, a six-day stint, two sets a night and three on the weekends. Through broken strings and a sometimes hostile crowd, we prevailed with the support of a colorful cast of friends: Allen Ginsberg, Robert and Sam, Todd Rundgren and Bebe Buell, Danny Fields and Steve Paul. By New Year’s Eve, we were ready for anything.

  Several minutes after midnight, Lenny and I were performing on the stage of Max’s. The people were raucous, divided, the electricity in the air tangible. It was the first hour of the New Year and as I looked out into the crowd, I remembered again what my mother always said. I turned to Lenny. “So as today, the rest of the year.”

  I took the microphone. He struck the chord.<
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  Soon after, I moved with Allen to MacDougal Street, across from the Kettle of Fish in the heart of the Village. Allen went off again on tour and we saw little of each other, but I loved living there and immersed myself in a new course of study. I was drawn to the Middle East: the mosques, the prayer rugs, and the Koran of Muhammad. I read Nerval’s Women of Cairo, and the stories of Bowles, Mrabet, Albert Cossery, and Isabelle Eberhardt. Since hashish permeated the atmosphere of these stories I had it in my mind to partake of it. Under its influence I listened to The Pipes of Pan at Joujouka; Brian Jones produced the album in 1968. I was happy to write to the music he loved. From the baying dogs to the ecstatic horns, it was for a time the sound track of my nights.

  Sam loved Robert’s work, loved it like no other.

  I stood with him looking at an image of white tulips that Robert had shot against a black background.

  “What’s the blackest thing you’ve ever seen?” asked Sam.

  “An eclipse?” I said, as if in answer to a riddle.

  “No.” He pointed at the photograph. “It’s this. A black you can get lost in.”

  Later Robert was inscribing the photograph to Sam. “He’s the only one who really gets it,” he said.

  Robert and Sam were as close to blood as two men could be. The father sought the heir, the son the father. Sam, as the quintessential patron, had the resources, the vision, and the desire to magnify the artist. Robert was the artist he sought.

  The undying affection between Robert and Sam has been prodded, misshapen, and spat out in a twisted version, perhaps interesting in a novel, but one cannot judge their relationship without an understanding of their consensual code.