Post by TheWallsScreamedPoetry on Dec 25, 2004 17:24:16 GMT
Having read this pile of shit I would recommend it to Doors fans as how else will you realise Ray was not very good at anything except music, which he was brilliant at.
liveDaily Interview: Ray Manzarek of the Doors
by Don Zulaica
In his first book, "Light My Fire: My Life with the Doors" (Putnam, 1998), keyboardist Ray Manzarek gave an insightful look into that band's engaging, and often tumultuous, history.
Now, with the recently released novel "The Poet In Exile" (Avalon), the writer-producer-musician picks up where the non-fiction left off, and hypothesizes about how the life of Doors vocalist Jim Morrison might have played out.
The story begins when Roy, a rock organist, receives a cryptic postcard from the South Sea Islands bearing the signature "J." Is it a prank? More correspondence flows in, and Roy starts to seriously wonder if his former band mate Jordan, an iconic vocalist and poet, is actually buried in Paris after all.
Manzarek spoke with LiveDaily's Don Zulaica about it.
LiveDaily: So, the Cliff Notes version of your novel would be ...
Ray Manzarek: This is the story of a rock star who stages his own death. He is not actually buried in an artists-and-poets cemetery in Paris, as people have believed. He has left town for the hinterlands, where he is going to go on a search for his enlightenment, his reason for being.
How long did you work on this?
It took a year and a half to write.
Had you done a lot of fiction writing before?
I've written a lot of film scripts, so this was a natural extension of writing film scripts, and just expanding a script to actually become a novel. It's actually much more fun writing a novel than a story for a script. Film scripts are like shorthand, [where in a novel], you get to write virtually full sentences.
How was this different from your first book, the biographical "Light My Fire: My Life with the Doors?"
Well, that was an autobiography about what actually happened, unlike the Oliver Stone film. This was even more fun than doing that. "Light My Fire" was like revisiting past events, this was like creating new events and watching them take place in front of my eyes. I'm watching a movie go by and I'm writing it as fast as I possibly can.
The obvious question out of this is, what's real and what's Memorex?
Exactly. This book is a work of fiction. All of the things that happened in the past are real. All the things that happened from the staging of the death in Paris, on, are fiction. So it's a combination of truth and fiction.
What motivated the writing of the book were all the stories of Jim Morrison still being alive. So I thought, I'm going to make it, "He is alive. Here you are. You're right, he didn't die! My God, he did stage his own death." But this takes it beyond that, into what would have happened to him had he been alive. So what I've done is I've given Jim Morrison the rest of his life, his adulthood, the next 30 years. He died at 27, so he never got to live the rest of his life, so I tried to do that for him.
You've obviously been putting pen to paper for a while. How long have you been really serious about it?
Serious? Ten years.
Who are some writers you admire? Who made you want to get serious?
John Steinbeck, D.H. Lawrence, Tennessee Williams, and Ernest Hemingway. You know, just all the great writers I've read.
Did any newer books pertaining to the music industry influence you? Did you base your writing approach on other people who have written about music?
No, I don't base my approach on anything to do with the music industry. I base my approach on ... John Steinbeck. [laughs] I try to base my approach on Steinbeck, new ideas of Lawrence, and Hemingway, as much as I possibly can. I'm not really involved in reading books on the music industry. I'm not concerned about that. I'd rather enjoy the music, you know?
February 07, 2002