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They die in winter
"I cannot go to Europe, I would die there in the winter." 1 Thierry Beinstingel quotes from a letter by Rimbaud, reflecting his aversion to Europe and his choice of Africa. But he does not die: The present novel Vie prolongée d'Arthur Rimbaud (Fayard, 2016) von Beinstingel stages a provocative uchronia by retelling the literary legend of Arthur Rimbaud as a continuation of his life beyond the officially recognized year of his death, 1891. At its heart lies the dual identity of the poet, who survives his illness under the name Nicolas Cabanis and begins a new, seemingly mundane life as a businessman and family man, while the "dead" Arthur Rimbaud becomes a legend in the European literary scene. The novel explores the tension between the "living" Nicolas, who denies his poetic legacy, and the "dead" Arthur, whose fame is posthumously constructed by literary critics and his sister Isabelle.
The quoted sentence can be understood as an expression of a broader rejection of "old Europe," which Rimbaud wanted to leave behind in order to lead a different life of action and commerce in Africa. For him, Europe was associated with "heaviness" and "boredom." According to Beinstingel, Arthur Rimbaud wrote the sentence from Cairo in December 1893. In the narrative about Nicolas, this sentence is introduced as a flashback to comment on Nicolas's winter experiences in the Ardennes. Marie, Nicolas's wife, observes how Nicolas (who is Arthur Rimbaud) struggles with the cold and winter weariness. The narrator notes that, although Nicolas never mentions the hardships of the cold season, "it is easy to imagine the struggles of him who wrote from Cairo, in the middle of August, five years earlier." This underscores that his aversion to winter is deeply ingrained.
The sentence is a powerful expression of Rimbaud's acclimatization to the heat and dryness of Africa and his perceived inability to survive in the colder European climates. He had lived and worked there for years, which had shaped his body and his preferences. Although Nicolas (alias Arthur) spends the winter in Europe (near the Belgian border) in his "second life," and Marie provides him with a warm and welcoming home, it becomes clear that the cold and the resulting inactivity take their toll on him. This shows that his earlier feeling—that the cold would kill him—remains a psychological reality even in his new existence, although he doesn't die directly from it.
On Rimbaud's continued life after his death
The novel opens in November 1891 in a Marseille hospital, where the historical Arthur Rimbaud lies dying of a leg ailment and is ultimately supposedly amputated and dies. However, in this alternate reality, Arthur survives his official death. With the help of the hospital director, who arranges for another person to be buried in his place, Rimbaud disappears under the name Nicolas Cabanis. This "resurrected" Rimbaud flees his past as a poet and the public eye. He turns to a practical, bourgeois existence: he becomes a successful businessman and industrialist in the Ardennes, marries Marie, a simple woman, and starts a family with two children, Hortense and Justin. The novel interweaves Rimbaud's life with contemporary events such as the Dreyfus Affair, the First World War, and technological advances (railways, automobiles, electricity, photography, phonograph). These references ground the fictional story in the reality of the Belle Époque and early modernism.
In parallel, the myth of Arthur Rimbaud unfolded in the European literary scene. His sister, Isabelle Rimbaud, played a central role in this. She became the guardian of his legacy, collecting his writings, correcting biographies, and defending his "truth" against critics and opportunists like Rodolphe Darzens and Louis Pierquin. Later, she married Paterne Berrichon, who, as a fervent "Rimbaldolâtre," dedicated himself to the posthumous glorification of Arthur, publishing his works and initiating a monument in Charleville.
Nicolas tries to completely repress his former life as a poet and the scandals associated with it (especially his relationship with Verlaine). He reacts angrily to articles about the "dead" Rimbaud. But the "specter" of his poetic past doesn't entirely let him go. He is repeatedly overcome by fragmentary quotations or images of his own poetry. His relationship with Isabelle, maintained through letters and rare meetings, is ambivalent: she is the only one who knows he is still alive, yet he forces her to remain silent.
The novel follows Nicolas's life up to 1921. After the death of his wife Marie and the destruction of his business in the First World War, the now aged and disillusioned Nicolas decides to return to Africa. There, in Harar, his former place of work as a merchant, he finds a kind of late, unexpected reconciliation with his divided identity when he reveals his true identity as Arthur Rimbaud to a German consul and the locals. However, his last poetic writings, composed in the hospital, are burned or lost, sealing his final farewell to literature.
Aspects of an interpretation
Genus affiliation and uchrony
The novel is a concise uchronia, a form of alternate history. The key moment of divergence from the actual historical course is November 9, 1891, in the Marseille hospital, when Rimbaud, contrary to historical accounts, survives his serious illness. This deviation is made possible by the manipulation of the hospital director, who has a different body identified as Rimbaud's to avoid an awkward situation. The consequence of this uchronic decision is the unfolding of a life that spans three decades (until 1921 and beyond), while the historical Rimbaud, who died at the age of 37, is simultaneously posthumously canonized in the public eye. The genre allows for an exploration of the consequences of a single altered fact on identity, society, and the reception of a historical figure.
Storylines and characters
The novel is characterized by several closely interwoven narrative strands:
The Life of Nicolas (Arthur Rimbaud)
This central narrative thread follows Rimbaud's recovery, his escape from public life, his renaming to Nicolas Cabanis, and his establishment of a new existence as a pragmatic, successful industrialist and family man. His life is characterized by hard work, business acumen, and a desire for a conventional life. He marries Marie, has children (Hortense and Justin), and becomes increasingly estranged from his poetic past.
Isabelle's fight for Rimbaud's literary legacy
Isabelle, Rimbaud's sister, represents the antithesis to Nicolas's desire for oblivion. She is the staunch guardian of Rimbaud's memory and his "truth." She corresponds with journalists and literary figures such as Darzens and Pierquin, fights against "lies" and "contaminations" of his biography, and attempts to establish an idealized image of her brother—often at odds with his actual personality or the scandalous aspects of his youth. Her marriage to Paterne Berrichon is functionally linked to the posthumous veneration of Rimbaud.
The Construction of the Rimbaud Myth
A third strand examines Rimbaud's literary reception in Europe. Prominent figures such as Verlaine, Claudel, Gide, Suarès, and Mirbeau comment on, interpret, and publish his works. This strand reveals how a myth is created, often based on incomplete information, speculation, or deliberate falsifications.
Characters
The functional constellation of characters is structured triadically: Arthur/Nicolas as the living, evolving subject who represses his past; Isabelle as the (often idealized) memory and active shaper of his posthumous fame; and Paterne Berrichon as the enthusiastic but also manipulative cultivator of the Rimbaud myth. Characters like Marie (Nicolas' wife) represent the new, bourgeois existence, while Djami (Rimbaud's servant in Africa) represents a deeper, non-literary connection to his African past and a lost world. The Rimbaud family (mother Vitalie, brother Frédéric) embodies a pragmatic, often harsh reality that Arthur once left behind and that Isabelle later tries to overcome.
Narrative perspective, forms of communication, and style
The narrative perspective is that of an omniscient narrator, who, however, often blurs the lines between objective presentation and commentary, sometimes ironic, sometimes lyrical reflection. The narrator appears explicitly, for example through phrases like "Les poètes ne meurent jamais" (Poets never die), which, as a recurring leitmotif, underscores the novel's central thesis—the immortality of the poet, even beyond physical death. This narrative perspective allows for a critical distance from the formation of the literary canon, which is often based on speculative or idealized notions.
Forms of communication play a crucial role. Letters are the primary medium that maintains the connection between the "dead" and the "living" Rimbaud (Isabelle and Nicolas) while simultaneously disseminating the literary world of Rimbaud's work. They are often marked by misunderstandings and silence, as Nicolas refuses to discuss his poetic past. Newspaper articles and magazines such as The Echo of Paris, The White Review or the Mercure from France They serve as a stage for public debate on Rimbaud's work and life. Nicolas's reading of these articles is often accompanied by anger and rejection. Oral communication (dialogues, rumors) supplements the picture but is often portrayed as unreliable or distorting.
The prose is rich in sensory details (smells, colors, physical sensations) that highlight the physical reality of Nicolas's life, such as the "strange scaly skin" of his illness or the smells of Africa. The language is often lyrical and poetic, even in its descriptions of the everyday, creating a subtle connection to Rimbaud's own poetry. Contrast and paradox are fundamental stylistic elements: the "pure" poetic genius versus the "bourgeois" entrepreneur, the mythical hero versus the aging invalid. The use of free indirect discourse allows the characters' thoughts to flow seamlessly into the narrative, providing profound insights into their emotional worlds.
Rimbaud and Verlaine
The question of Rimbaud's homosexuality is addressed in several ways, often implicitly through hints, family reactions, and literary debates, while Verlaine is portrayed as a central figure in Rimbaud's early, poetic life and its posthumous reception.
Avoidance and denial by the family
The Rimbaud family, particularly Isabelle and her mother Vitalie, is portrayed as highly conservative and concerned with their reputation. Isabelle actively strives to create an "ideal" image of her brother, one that excludes his "frasques" and his "homosexuality" (described as a "taboo subject" for "narrow minds"). Statements such as those by Suarès—"This family never tells the truth," "The Rimbaud family cultivates lies like a prayer. Prayers of all kinds. Lies on all subjects"—suggest a deliberate obfuscation. Isabelle herself admits that by phrasing his actions as having "entered forbidden realms" and "eaten the forbidden fruit," she subtly hinted at Arthur's unconventional lifestyle, always with the aim of protecting his "pure holiness."
Literary debates and stereotypes
The debate surrounding Rimbaud's sexuality took place in literary circles, often accompanied by derogatory remarks. Edmond de Goncourt called Rimbaud a "pederaste assassin" (a derogatory term for a sexually promiscuous person). Catulle Mendès doubted Rimbaud's future fame, calling him a "Pétrus Borel naturaliste" (a derogatory term for a naturalist), a denigration of both his person and his work. Marcel Coulon rejected the "canonization" of Arthur.
Paul Claudel's stance
Claudel, who according to his own account turned to Catholicism after hearing Rimbaud's Illuminations Having read Rimbaud's works, André Gide attempted to portray him as a "mystic in a savage state." He was appalled to learn of Rimbaud's "homosexuality" and "taste for luxury and vice," and was horrified to discover that Gide was a "participant in these abominable customs." This demonstrates how the religious interpretation of Rimbaud required a clear distancing from his homosexuality.
Rimbaud's own recollections (Nicolas)
The resurrected Rimbaud, Nicolas, recalls his former passions and sexual encounters. He describes how, in his "previous life," he experienced love in all its facets, from "girls with enormous breasts" to "girls with charming little manners." He mentions "Sonnet du trou du cul and barracks songs" as part of his love life, explicitly alluding to homosexual or explicit themes. He describes how his earlier body preferences corresponded to "dry, angular, narrow-hipped, flat-chested, grainy skin and the ambiguity of the sexes." Later, as Nicolas, he reflects on "fleeting fantasies" of "female or male" bodies, suggesting his bisexual attraction. He concludes: "Man or woman, entwined, so close, so few differences."
Verlaine as the central companion and lover
Verlaine is arguably the most important figure in Rimbaud's early, poetic, and personal life. Nicolas (Arthur) recalls their time together in London in 1872 in a dream: "young bodies. Body to body. How to describe love?" and "four entwined arms, four intertwined legs, a closeness of mouths, breath, genitals, flesh to flesh." This describes a deep, intimate connection.
While Nicolas describes him in his memoirs as "funny, smiling like a child, with a flattering manner of speaking," Verlaine is referred to in other contexts as a "faun-head" and a "drunkard." Edmond de Goncourt vilifies him as a "pederast, murderer, coward." At the same time, he is in The White Review portrayed as "heroic" for his defense of poetry.
Verlaine is largely responsible for the posthumous publication of Rimbaud's work and for establishing his fame. He wrote the preface to Arthur Rimbaud's Complete poems, in which he refers to Rimbaud as a "poet who died young" and a "man who died young." This contributes significantly to the creation of the "Rimbaud myth," even if it solidifies a particular, often "sanitized" version of his person.
Isabelle, Rimbaud's sister, has connections to Verlaine's literary circle, particularly through Paterne, who tries to obtain Verlaine's approval for the publication of Rimbaud's works. However, Verlaine reacts scornfully to "Mademoiselle Isabelle."
Verlaine's death and Rimbaud's reaction
Nicolas (Arthur) learns of Verlaine's death through the press. This death triggers deep emotions in him: he weeps alone and reflects on the complex relationship of "love and hate" and a "passion that is now only an embarrassing memory." He even recalls Arthur's declarations of love for Verlaine before A season in hell: "But I love you, I hug you and we will see each other again".
Despite their deep connection, Nicolas (Arthur) Verlaine's "betrayal" after the "Brussels shooting" was formative, even though he himself dismisses the incident as "so unimportant." He criticizes the "old stories" spread about him, as they erase his "fifteen years" in Africa and are the "machinations of narrow-minded bureaucrats."
Dimensions of Intertextuality and Rimbaud's Poetry
The novel is highly intertextual, constantly referencing Rimbaud's life and work, as well as its reception. Direct quotations and allusions to Rimbaud's poems are numerous and often function as "impacts" on Nicolas's consciousness or as commentary by the narrator. For example, "Je est un autre," a quote from Rimbaud's "Lettre du voyant," becomes a central motif of the split identity of Arthur/Nicolas.
"Une saison en enfer": This work is repeatedly mentioned as the pinnacle of his poetic output and as a reflection of his inner struggle. Isabelle believes Arthur burned the copies. "Illuminations": Nicolas often thinks of it when processing visual or sensory impressions.
“Ma bohème” and “Les Pauvres à l'église” are examples of poems from his youth that play a role in its reception. “Le Bateau ivre” is highlighted as a visionary work and later serves Nicolas as a point of reference for his own experiences. “Les Chercheuses de poux” is a poem that comes to Nicolas in a moment of reconnecting with his poetic side.
“Au Cabaret-Vert, je demandai des tartines”: This line is directly linked to Nicolas’ return to Charleroi and evokes a strong memory.
“Elle est retrouvée / Quoi ? – L'éternité / C'est la mer allée / Avec le soleil”: These verses, often associated with spiritual insight, emerge in moments of Nicolas' inner clarity.
“Seigneur, quand froide est la prairie” and “une cathédrale qui descend et un lac qui monte” are quotations that show in the novel how everyday observations activate Nicolas’ poetic memory.
"Vous êtes de faux nègres, vous maniaques, féroces, avares. Marchand, tu es nègre ; magistrat, tu es nègre ; général, tu es nègre ; empereur, vieille démangeaison, tu es nègre.": A quote from Rimbaud's work that Nicolas said while reading an article about Kaiser Menelik recognizes and comments.
Among the references to literary figures and critics are Verlaine, Darzens, Pierquin, Paterne Berrichon, Paul Claudel, André Suarès, Paul Léautaud, and other literary luminaries of the fin de siècle. They all contribute to the complexity of the image of Rimbaud and reveal the diverse, often contradictory, interpretations of his life and work. André Suarès' critical commentary on Rimbaud's "lies" and "terrible family" serves as a meta-level, questioning the construction of the myth.
Rimbaud's image of fiction
The novel presents a radically different image of Rimbaud from the conventional "poète maudit" icon, while simultaneously grounding him in his humanity: instead of the mystical, unfathomable genius, we see a hardworking, tenacious businessman who builds a successful enterprise in Africa and later in the Ardennes. He is a man of action and a struggle for survival, adapting to his circumstances. The novel portrays Rimbaud not as an eternally youthful poet, but as a man who ages, experiences hardship (the death of his wife, war), and suffers from health problems. He is filled with an "implacable anger" (Bile), a facet that makes him appear more authentic and less idealized.
Even though he rejects poetry, Rimbaud/Nicolas remains a seeker of meaning and truth. This search no longer manifests itself in verse, but in the shaping of his life, his family, and his work. The motto "posséder la vérité dans une âme et dans un corps" at the end of the Season in hell It becomes his life's goal, which he tries to realize in a physical, tangible existence.
The poetic talent appears not only as a gift but also as a burden that Nicolas tries to rid himself of. His "word hallucinations" bear witness to an inner torment that he seeks to overcome through a life of action. The "I is another" is narrated as a lived reality: the split between Arthur and Nicolas is more than a literary game; it is the lived experience of a man who actively sheds his former identity in order to create a new one.
Rimbaud's surviving connections to his reception
Nicolas's reaction to his posthumous fame is multifaceted: Initially, he ignores the literary world and feels anger and contempt for those who publish his youthful poems or personal details. He sees this as "stupidity" and "maniacal." He condemns his literary past as "meaningless outbursts of misplaced words." He distances himself from the romanticized figure of the "poète maudit" and emphasizes his life of action and commerce. For him, business is his new form of creation.
Although he rejects the literary world, lines of poetry involuntarily surface in his thoughts, sometimes as disturbing "hallucinations of words." These reminiscences reveal that his poetic genius is deeply rooted within him, even if he actively suppresses it. The encounter with the waiter in Mons, who resembles Verlaine, reawakens memories of his youth.
Only at the end of his life, when he returns to Africa, does Nicolas accept that Arthur is a part of him. He sheds his disguise and openly identifies as Rimbaud. This, however, is not a return to poetry, but a reconciliation with his entire, complex identity.
At the end of the novel
The novel concludes with Nicolas's return to Africa in 1921. This final journey is open to multiple interpretations, including a return to the roots of his "other" self: he returns to the place of his "true" existence as a merchant, away from European literary appropriation. It is an escape from the hype surrounding the "dead" Rimbaud and a declaration of his commitment to the life he has chosen for himself.
In Harar, Nicolas publicly admits for the first time that he is Arthur Rimbaud. This marks a final reconciliation of his two identities. He no longer has to hide; he accepts his entire, contradictory past. This moment is portrayed as an act of freedom and inner peace.
A German consul takes a photograph of Nicolas Rimbaud, which may be the only image of the "resurrected" poet. The uncertainty surrounding the whereabouts of this photograph and the tragic story of the photographer underscore the fragility of historical truth and the irony that the poet's "real" existence ultimately remains hidden while the myth flourishes.
His last writings in the hospital, scribbled on scrap paper, were deemed worthless by the cleaning woman and burned or lost. This symbolizes Nicolas's final farewell to literature in the conventional sense. His silence after returning from Africa is no longer the silence of a bitter poet, but the silence of a man who has found his truth in lived experience and no longer needs words to express it.
“Alchemy of the Word” as “Alchemy of Life”
Reading this book lends a new, possible meaning to Rimbaud's historical farewell to literature: his silence is interpreted not as the tragic withering of his genius or as a consequence of disillusionment, but as the conscious, rational decision of a man who abandoned literature for a different way of life, one he perceived as truer. For him, poetry was a "youthful folly" he wanted to leave behind.
Rimbaud's poetic concept of "alchemy of the word" is applied to life itself in the narrative. Nicolas practices an "alchemy of life," creating material value, starting a family, and actively shaping his existence. This is his new form of "truth." For Nicolas, turning his back on literature means liberation from the constraints of an artist's life and the expectations of the literary world. He escapes the role of the "poète maudit," which confines him and distorts his true personality.
The book reveals how the literary canon reshapes a figure like Rimbaud to fit its own narratives. Rimbaud's "silence" is not respected, but rather overloaded with meaning by biographers and admirers, which Nicolas perceives as a betrayal. By burning his "genuine" last writings, his absolute departure from literature is sealed, beyond the realm of posthumous myth.
Overall, the novel offers an interpretation of Rimbaud that transcends the conventional portrayal of the poet. It raises the question of the authenticity of an artist's life within the context of its reception and the possibility of breaking free from a once-created public image. Rimbaud's silence is read here not as an end, but as the beginning of another, perhaps truer, existence—an existence that manifests itself beyond words.
This article is written in German and can be found at https://rentree.de. Automatic translations into English and French are available. English, French.
Notes- “Je ne puis aller en Europe, d'abord, je mourrais en winter”>>>
