“CAN YOU FIND ME SOFT
ASYLUM?”
A DEFINITIVE REFERENCE GUIDE TO
JIM MORRISON’S FINAL DAYS
By Jerome L. Wallerstein
Copyright 2004,
Jerome L. Wallerstein Livermore,
First printing, 2004
This book is a compendium of previously published and
available quotes, for which the author takes no credit. The work is intended to
serve as a reference guide for fans and researchers. Accompanying each quote
the author has provided the original source; for those seeking further information
it is recommended you explore the sources being referenced.
Questions and correspondence may
be submitted to:
Evening Star Publications,
or by email to: Wallerstein@sbcglobal.net
“Last words, last words...out.”
Jim Morrison
AUTHOR’S
PROLOGUE
Jim Morrison and The Doors - a plethora of books exist on virtually
every facet of their existence and legacy, so why write another, and how does
this one differ from the rest?
The purpose of this book is simple: to gather together in a single compendium the sequence of events and oft-conflicting accounts of the final days of Jim Morrison, using quotes and verifiable information. There is seemingly no end to the quotes one could call upon, and determining what to leave out proved to be one of the biggest challenges – ultimately, in the interest of readability and in an effort to avoid redundancy, I elected to include those which most clearly served the purpose of the book. The goal is for the novel to be viewed as a definitive reference source for fans and researchers alike. Frequently asked questions surrounding Morrison’s final days form the basis of the book and lend a fundamental structure to the work.
The murky circumstances surrounding Morrison’s death have drawn
interest from all corners of the earth. Given there exists so much conflicting
and contradictory information in circulation, it is no wonder that confusion
and rumor exist to this day – and equally clear why his death has taken on near
mythological proportions in the more than thirty years since it occurred.
Intriguing discrepancies, combined with blatant traces of subterfuge and
deception, stoke the flames of interest and, in a morbid twist of irony, keep
the subject matter “alive”. Although conflicted at first, I consciously chose to include quotes from sources universally held to be completely credible, as well as quotes from individuals generally regarded as dubious (including Linda Ashcroft, whose self-serving book – which purports to be a first hand account of a long-term love affair with Jim Morrison – has drawn the passionate ire of devoted Doors fans from around the globe). The reason for including quotes from such disparate sources is to give evidence to how even today we continue to actively fuel myth-making by way of clouding the truth.
This book does not purport to provide any “new” information; on the
contrary, it is precisely the “pre-existing” documentation that forms the very
foundation to this work. The uninitiated will be well served by reading any of
the dozens of biographies available in libraries, on the Internet and from
bookstores. I have tackled this particular subject matter because it interests
me personally; my hope is that it will prove insightful to fans and historians,
and a valuable reference tool for authors and researchers.
QUESTIONS, QUOTES &
CONFLICTS
Q. WHAT WAS MORRISON’S HEALTH AND STATE OF
PATRICIA BUTLER: When Jim would pick up an occasional venereal disease. Max Fink sent
him to an old friend of his, a gynecologist in the Wilshire district who would
treat Jim quietly, after regular office hours. Most of the Doors and their
wives used the services of Dr. Arnold Derwin who would later be cited as an
authority on why Jim’s death could not have been caused by respiratory
distress, based on the fact that Derwin himself had not been aware of Jim’s
existing asthma condition, nor had Jim seemed ill the last time Dr. Derwin had
seen him. PG. 175 ANGELS DANCE AND
ANGELS DIE
DR. ARNOLD DERWIN: Jim was in excellent health before he went to
PATRICIA BUTLER: But Derwin had no access to Jim’s past medical records, nor was Jim
likely to provide an accurate history, assuming one had been requested. At the
time Jim left for
MONDO 2000... Hey! No one wants to be
expunged from the Book of Life. How many medical workers at UCLA knew that
Jim Morrison was being treated for gonorrhea in the Fall of 1970?
Knew of the biopsy that confirmed adenoma of the penile urethra -- often
consequence to repeated gonorrhea? This is a particularly swift form of cancer whose only
alternative may have been radical castration...“Queen Mu, PP. 131 MONDO 2000 MAGAZINE
PATRICIA BUTLER: Paul Rothchild had also tried to get Jim to seek
professional help on more than one occasion. “Oh! Everybody tried!” Rothchild
recalled. “I tried a lot, especially when he brought up repeatedly his problems
getting hard”, said Rothchild, referring to Jim’s increasing bouts with
impotency, a problem not uncommon in alcoholics, which both Pam and Jim had
spoken about with Paul. PG. 146 ANGELS DANCE AND ANGELS DIE.
PATRICIA BUTLER: His steady weight gain was compounded by the ever present layer of
bloat caused by his chronic alcoholism. The stress of the [
Q. What led Jim Morrison to leave
for
HANK ZEVALLOS: Hey, I knew Jim Morrison since before “Light My Fire” and was with
him his last night in
BILL SIDDONS: He went off to
PATRICIA KENNEALY: “I still don’t understand why you’re going” is what I say instead.
“It’s hard to explain” he says after a long silence. I kind of feel responsible
for [Pamela]. She’s not like you, she can’t do anything on her own, can’t take
care of herself – it’s over, but I think I owe her this.” PG. 296 STRANGE DAYS
LINDA ASHCROFT: I was thinking I might use the time in
BILL SIDDONS: "He said, I don't know who I am, and I don't know what I'm
doing at the moment. I even don't know what I really want, I just wanna go
away. Pamela was behind it all. It was her who pushed him to leave, and who
told him to take his scrap books and write a theatre play." FROM RAINER MODDEMANN’S
“QUIET DAYS IN
The
sessions for
RAY MANZAREK: And then he dropped the napalm. “I’m going
to
Although
Ray states that it came as a bit of a surprise, Robby Krieger states that they
had reason to anticipate it:
ROBBY KRIEGER: He has talked about
Others,
too, were aware that Morrison intended to join Pamela Courson in
LINDA ASHCROFT: Though he didn’t set a departure date for Paris – he wanted to wake
up one day and get on a plane, not dread it – we knew it would be soon. Any
day. Pg. 477 WILD CHILD
DANNY SUGERMAN: [Morrison said] That’s exactly what I’m doing – a semi-sabbatical, a
career break. I’ll be back in no time. Pg.
Q. How did his
friends and bandmates react to the news that Jim Morrison was going to
Manzarek sensed that
“something was wrong”, as Morrison had always been involved in the final mixes
of the albums but tried his best to be supportive and not over-react.
RAY MANZAREK: “
RAY MANZAREK: To be honest, I hoped Jim would use the break to get away from his
drinking buddies; get away from the hangers-on who were always attaching
themselves to him and taking him to the too many bars, dives, gin mills, and
wherevers. The sycophants. The leeches, as John and Robby and I called them.
His “friends,” as they became called in later years...they were just sucking up
his energy, keeping him from being a poet...and he wouldn’t be writing. He
wouldn’t be creating. He should have been spinning out great passages of new
verse, instead of talking it out and staggering home to Pam way past the
...They [Jim’s
drinking buddies] were a real sore point with Pam Courson, Jim’s live-in lady
and soul mate. Pam was always angry because Jim was running around and getting
drunk with his friends...So to make things up to her, on her suggestion, he was
going to take her to
Hell, it seemed like
a good idea; at least at the time...He could be the next generation of the
bohemian ideal, an American in Paris...I wanted him to go to Paris and write
again. Forget about being a rock star. It was time for Jim Morrison to be an
artist again. Just like in the beginning. PGS. 10 – 122 LIGHT MY FIRE
FRANK LISCIANDRO: "I remember Babe brought him to the airport but Kathy and I met
him there. They went in their car and we went in another car, and we met at
RAY MANZAREK: So off he went. Left the session, just like that. John and Robby and
I just looked at each other, dumbfounded. All we could do was shrug our
shoulders. “I think it’s a good idea”
said Robby. “Me too” I agreed. “Paris and writers, it’s a natural.” “Maybe
he’ll get the muse back” Robby said hopefully. PG. 12 LIGHT MY FIRE
Q. How long did
Morrison intend to stay in
RAY MANZAREK: “How long, uhh...how long you gonna be there?” “You know, Ray, I
don’t know” Jim said...”I don’t have any plans yet” he said. “I just need a
break. Some time to myself. A couple of months, six months. Maybe a year. Who
knows, man? I don’t.
“It’ll give you a chance to work
on those notes from
LINDA ASHCROFT: [Upon Morrison presenting
Ashcroft with a diamond ring, Ashcroft replied ]Give this to me in September.
When you get back from
PATRICIA KENNEALY: [In his letters he writes about]...how much he looks forward to our
being together in New York as he has promised, by October at the latest, so he
can catch the fall colors. PG. 315
STRANGE DAYS
LINDA ASHCROFT: ...He’d give [Pamela] six months to help her get off heroin, a
settlement to give her a start, and she would sign an agreement not to sue. I
had a hundred misgivings, but he said “I need to do this to be the man I want
to be.”...Finally, he repeated himself about the six months promised Pam to get
her on her feet. “I owe her that” he said.
PG. 476 WILD CHILD
DANNY SUGERMAN: "The album is out, as
you probably know. Sorry this letter is late, but things have been really
hectic these last few weeks, Jim is, in fact, in
Sincerely yours,
Danny Sugerman, Doors Productions." On
PATRICIA KENNEALY: ...And then he gets into us, him and me, how we will be together in
New York, in the fall, for the start of “the season” as he puts it, how we will
get a loft downtown, have poetry readings of his stuff at the St. Mark’s Church
poetry project where Tandy Martin’s husband reads his own work, I can write my
novels and Jim will do poems and films, maybe we will even write things
together... PG. 296 STRANGE DAYS
ALAN RONAY: [Jim Morrison said] I’ve no intention of leaving
ROBBY KRIEGER: We never really broke up…It was understood that it was gonna be a long
vacation for everybody. But there was no talk of breaking up The Doors…We
finished our contract with Elektra, as far as albums go…we were gonna take a
long vacation for sure, but we didn’t say okay, let’s break up the group…you do
a solo album, you do a solo album, and whatever….” PG. 447 break on
through
PATRICIA KENNEALY: When Jim left LA in March 1971, he left The Doors as well – whether
they knew it or not, whether they believed it or not. www.geocities.com/unfaithfulservant2002/KENNEALY.html
JOHN DENSMORE: "... I am sure that he
wanted to come back." FROM RAINER
MODDEMANN’S “QUIET DAYS IN
LINDA ASHCROFT: Jim was leaving for
PATRICIA BUTLER: I won’t be back in the States until September at the earliest, he
told [Tere Tereba]. PG. 163 ANGELS DANCE AND ANGELS DIE
JIM MORRISON: "I think we'll do a
couple of albums and then everyone will probably get into their own thing: each
guy in the band has certain projects that they want to do more
independently." Rolling Stone
interview with Ben Fong-Torres a few days before his departure
According
to Densmore, when he and Jim Morrison spoke on the phone in late June Morrison
himself suggested they record another album upon his return from
JOHN DENSMORE: “How’s
RAY MANZAREK: The next day John reported in. Everything was okay. Jim was feeling
good, having a good time. He had shaved his beard, he was excited about the
critical acclaim for [
RAINER MODDEMANN: When Tere took her leave,
saying that she was looking forward to getting back to
JERRY HOPKINS/DANNY SUGERMAN: When John told Jim how well the album and single were selling and
how much the press liked the records, Jim was amazed. “If they like this,
wait’ll they hear what I got in mind for the next one,” he told John. PG.
361 NO ONE HERE GETS OUT ALIVE
ROBBY KRIEGER: In fact Jim had never quit The Doors, what else could he do, he
would have been dead-bored after a couple of months. I think he always would
have come back to the group. INTERVIEW
WITH RAINER MODDEMANN, 1999 DOORS QUARTERLY MAGAZINE
HANK ZEVALLOS: There also were no future Doors plans in the works. They had
completed their contract extension with Elektra and there was only a very loose
“we’ll meet in maybe a year and see what happens.” FEB 2000 –www.findadeath.com
RAY MANZAREK: "That Jim went to
FRANK LISCIANDRO: Jim's feeling at the time - and I remember this distinctly because
we had more than one conversation about it - was that his days in
HERVE’ MULLER: I remember that he honestly wanted to settle in
PATRICIA BUTLER: [Morrison] grew somewhat evasive when talk would inevitably turn to
The Doors... PG. 162 ANGELS DANCE AND
ANGELS DIE
BILL SIDDONS: “We talked to him about coming back” says Siddons, “and all we ever
got was ‘Ah. No plans! I’m having a great time. Maybe someday we’ll do another
record, but no plans!” … PG. 162 ANGELS DANCE AND ANGELS DIE
Q. WHAT, IF ANY,
COMMUNICATION DID MORRISON HAVE WITH HIS BANDMATES WHILE HE WAS IN
JERRY HOPKINS/DANNY SUGARMAN: [Morrison] placed an early morning call to John Densmore and asked
him how the material was coming. PG. 361
NO ONE HERE GETS OUT ALIVE
RAY MANZAREK: John [Densmore] finally said, impatiently, “I’m gonna call [Jim].” I
said “Why? Let him alone for a while. He doesn’t want anybody bugging him.
He’ll call when he’s ready.” John paced the rehearsal room, unable to control
his anxiety. “I just gotta know” he said. “I can’t wait any longer.” And so he
called him. PG.
13 LIGHT MY FIRE
Contrary to Manzarek’s
statement that John Densmore initiated the call, Densmore claims that Morrison
called him.
JOHN DENSMORE: The phone rang on a Thursday morning. “Hey, man, how ya doin’?” said
the voice I knew only too well, the whiskeyed voice that struck terror in me. PG.
6 RIDERS ON THE STORM
And in
contrast to what Densmore states, Rainer Moddemann claims Morrison calls on a
different day:
MODDEMANN - On (Monday) 14th June he telephoned John Densmore in
Q. Morrison’s
relationship with Pamela Courson was stormy and tempestuous from the start. How
did they get along in
ALAN RONAY: “…[Pamela] led her own independent life in
JERRY HOPKINS/DANNY
SUGERMAN: To ZoZo (Elizabeth Lariviere) it
seemed a peculiar relationship. Whenever she talked with Pamela, Pamela spoke
only of Jim and how wonderful he was, “everything was Jeem, Jeem, Jeem.” But
then when Pamela stayed out all night with some of the French friends she’d
made through the rich count, in the mornings on the telephone she begged ZoZo
to tell a lie for her. “Oh please say to Jeem I was in your friend’s house all
the night and I’m going to come back at twelve.” I always used to have to say
that to [Jim]. PG. 351 no one here gets out
alive
LINDA ASHCROFT: “Pamela is having this fantasy about our getting back together. She
seems to have confused the public image we’ve had for some time with the
reality of the trip. If she introduces herself as Mrs. Morrison one more time,
she’s going to have to slap me out of hysterics.”. ..Delighted by the sound of
his voice, I had to make myself pay attention to what he was saying...September
seems awfully far away.” PG. 483 WILD
CHILD
PATRICIA
KENNEALY:
[Morrison said] it’s over, but I think I owe her this...” ”This isn’t doing her
any favors –“ “I know, I know, I just want to end it off gently”. PG. 296 STRANGE
DAYS
PATRICIA BUTLER: For the first time he began talking about having children [with
Pamela]... As they had done several times before in the States, the couple
obtained another marriage license. PG. 158 ANGELS DANCE AND ANGELS DIE
BILL SIDDONS: [Referring to a marriage license allegedly taken out while in
JERRY HOPKINS/DANNY
SUGERMAN: [For a period of time, while
they traveled through the South of
LINDA ASHCROFT: The thirtieth of June Jim’s
voice was so tired, I wanted to send him my exuberance over the wire... “Pamela
and I had our last fight. She made confetti of all my recent work. She’s never
destroyed my writing before. I told her that ends my obligation to her.” PG 486 – 487 WILD CHILD
JIM MORRISON: Hello Bob, how are you? The weather today finally turned sunny,
after a month of gray. Paris is beautiful in the sun, an exciting town, built
for human beings. Speaking to Bill (Siddons) a while back I told him of our desire to stay here indefinitely.
Will that be possible? Could you write and give me an idea of how long we can
stay on living at our present rate, a sort of financial statement in general?
Also, a copy of the partnership agreement, if it was ever completed. We have
decided to turn the shop (Themis, Pamela's boutique) over to Tom and Judy
(Pamela's sister and her husband), so they can seek alone. All but the
furnishing sans some personal things, which we ought to keep. Eventually, we'd
like to be completely clear of any involvement. Could you help to figure out
the best way to do this? Incidentally, would you ask Judy for her parents'
address and send them 100 bucks for the dog (Jim and Pamela's dog Sage)? Any
luck on the credit cards? We Could use them made out in both our names. What's
the problem? And if you'd send our cheque when you receive this - house bills
are catching up. Please send $3,000. Give
our best to all, later, Jim . letter to Bob Greene, received ON
PATRICIA KENNEALY: [In his letters to me] ...He speaks tenderly of how he misses me, of
how it is winding down at last to the final break with Pam, of how there is so
much history there, both good and bad, but that this is really it, as far as he’s concerned...” PG. 315
STRANGE DAYS
PATRICIA BUTLER: Jim told Bill [Siddons] that he was doing fine, that he and Pamela
were living together and doing well… Jim and Pam talked briefly about buying a
house in the French countryside. PG.
162-163 ANGELS DANCE AND ANGELS DIE
HERVE’ MULLER: [Pamela] wanted to find an old church or chapel and turn it into a
house. PG. 163 ANGELS DANCE AND ANGELS
DIE
KATHY LISCIANDRO:...maybe he did marry Pam but I know from a phone conversation with
him in may that he kept up his old on-again-off-again style of living, one
apartment with her, one without. PG. 113
THE DOORS COMPANION (ROCCO)
Q. WHERE
EXACTLY DID MORRISON STAY WHILE IN
RAINER MODDEMANN: At Jim's
suggestion Pamela had flown to Paris on 14th February 1971, St Valentine's Day,
to find an apartment for them and to prepare everything for his arrival. While
looking, Pamela stayed at the Hôtel Georges V, which Jim had recommended to
her....To begin with, they lived at the Hotel Georges V in Avenue Georges V. Only a week later Jim and Pamela moved in at No.
17 Rue Beautreillis. ZoZo gave them one of the three bedrooms of the
spacious apartment, and Jim moved a desk for himself near to the window. He
shaved off the long dark beard he had worn for almost six months... FROM RAINER
MODDEMANN’S “QUIET DAYS IN
PATRICIA BUTLER: When Jim first arrived in
PAMELA COURSON:
Before living at rue Beautreillis, my boyfriend and I lived for three weeks at
the Hôtel de Nice, rue de Beaux Arts, I think...” FROM PAMELA COURSON’S POLICE STATEMENT
RAINER MODDEMANN: In the sunny, quiet apartment in the Marais quarter he was very
happy. He loved to walk down the Rue St. Antoine, an ordinary tourist, or take
expeditions across the Ile St. Louis. He found total peace and quiet in the
close-by Place des
Q. DID MORRISON FIND HIS MUSE IN
LINDA ASHCROFT : Jim sent a postcard from
PATRICIA KENNEALY: …In April, I get my first communiqué’ from Paris…May brings a real
letter, June two more letters and a small package – the last things I am ever
to receive from Jim’s hand. The gifts are as they are; but the letters are
alarming. Not so much the first two, save only between the lines: Outwardly Jim
speaks with real feeling of the beauty of Paris but then admits that he has
been ill and unable to write as much as he would like, that he cannot seem to
settle into a productive creative groove, cannot find his writing voice, and
this makes him unhappy and uncertain. PG. 314
STRANGE DAYS
LINDA ASHCROFT: Jim gathered his strength by telling me he had made a tape in a
studio of his three new songs to send to the other Doors as a peace
offering...I wrote down the lyrics on the newspaper that was spread out on the
table. In case Pamela got her hands on them, I told myself, I’ll have copies to
present him at the airport. The songs were so beautiful, they made me cry. PG 498
WILD CHILD
ALAN RONAY: ...He wrote all the time. FROM ALAN RONAY’S ARTICLE “JIM AND I -
FRIENDS UNTIL DEATH”.
LINDA ASHCROFT: “What makes dealing with
Pamela worse is that I can’t write worth shit. I keep telling people about this
novel I’m working on. Don’t remember what the hell I’ve told them, but it sure
isn’t on paper...I sit with paper in front of me but I can’t write a goddamn
sentence. Did I ever write anything? I can’t remember what I sounded like. PG
483 – 484 WILD CHILD
ALAN RONAY: He wrote practically every day.” PG. 158 ANGELS DANCE AND ANGELS DIE
LINDA ASHCROFT: He read from a long poem he had teased about in his postcard. A man
in
KATHY LISCIANDRO: Maybe he was doing something close to a reasonable amount of writing.
Maybe. The Jim I knew had a king-size block as a writer. For him to get off
even a few lines a week might look like a burst of productivity from up close.
PG. 113 THE DOORS COMPANION (ROCCO)
LINDA ASHCROFT: Jim’s next letter implied the writing was rolling; the next, a false
start. Then he wrote a postcard claiming at least he was writing a poem about
the blues...On the very day I received the postcard, Jim made a second call.
..[After meeting with an analyst who reassured him that he need not lose his
creative edge by operating within a normal sphere, he realized] He had gone to
help Pamela and found help for himself. PG. 485 WILD CHILD
Q. What was Jim Morrison’s
general state of mind while in
JERRY HOPKINS/DANNY
SUGERMAN: ...It was calm, at first. PG.
350 NO ONE HERE GETS OUT ALIVE
ALAN RONAY: In the beginning he was very hopeful and bright about a new life. Most
of the time he was very calm and wasn’t drinking very much. He wrote
practically every day…I rally felt that he totally reclaimed himself. BREAK ON
THROUGH PG. 445
PATRICIA KENNEALY: [In his first two letters to me]...he ends both missives on
determinedly upbeat notes, as if he were trying to convince himself as well as
me. Still, the subtext of depression is there in both letters, and much plainer
in the second than in the first. PR. 315
STRANGE DAYS
RAINER MODDEMANN: Although it would seem that Morrison enjoyed traveling and certainly
relished not having to put on airs or be hounded by paparazzi he nonetheless
seemed to edge more and more into a state of depression. Morrison continued to
struggle with his alcoholism and was probably wracked with guilt indecision and
relative to his personal relationships (should he break it off once and for all
with Pamela, should he return and live with Patricia Kennealy? What of the
unborn child Kennealy had aborted? What was to become of the band? What did he
want to do with his life? FROM RAINER
MODDEMANN’S “QUIET DAYS IN
KATHY LISCIANDRO: I suppose he’d have been pleased to find himself but my impression
was he didn’t know where to look and had long ago given up trying, except maybe
in the bottle. You know what people find in vodka bottles, vodka. PG.
113 THE DOORS COMPANION (ROCCO)
LINDA ASHCROFT: Jim sent a postcard from
BILL SIDDONS: I spoke to Jim on three separate occasions. He always seemed to be
in good spirits, happy that he’d gone [to
PATRICIA KENNEALY: I had eight or ten cards and letters from him in the three months he
spent there. Some were exalted and joyous and others were veiled in despair.
The last letter he wrote me was mailed only a few days before he died. He wrote
of how tired he was and how much he missed me. "My side is cold without you..."
he told me. The letter was to weep for, and I did, and still do. INTERVIEW WITH
AMERICAN LEGENDS
Frank Lisciandro’s
recollections seem to corroborate this:
FRANK LISCIANDRO: “I had written to Jim about a month after he left
saying that Kathy and I were planning a trip to
…as do Alan Ronay’s,
who paints a picture of Morrison’s time in
ALAN RONAY: Therefore, with a few exceptions, Jim and I spent almost the whole
month of June alone together. Our days were tranquil and were probably the best
we shared....In that brief period he was happy, calm and free.
PATRICIA KENNEALY: …But it is the third letter Jim sends me, the last one, the June one,
which genuinely frightens me…he calls to mind joyful things…but otherwise there
is little joy here. He speaks of standing on the down slope to a void and not
knowing where, or even if, he is; of crying himself to sleep on a night of rain
and wondering if I heard him; says that for the first time he is uncertain of
where I am, says that he reaches out for me in his sleep but his side is cold
with my absence.
He writes that he
thinks he really wants to be dead, not mad, after all, and how I always thought
it was the other way around…he says that he feels cornered, says that he’s not
even going to mail this to me after all.
And toward the end
he writes that he is tired…says that he walked for miles and came home limping;
says he doesn’t really know why he does these things and yet seems to learn so
little... [He] says that now he requires that reassurance {that he hadn’t sold
out – ed.} from me; says he wants me to look at him and tell him that he has
not sold anything that could not be bought save by honest coinage.
There is much more
in the same dreadful despairing vein: The pages seem frosted with hopelessness…The
more I read and reread, the more I weep for him, and the more I want to jump on
the first plane to Paris and drag him back with me to safety in my arms,
forever, away from his pain.
But his pain seems
to be his fellow-traveler, and other people are hearing very different things
from him, seemingly, at this very moment… To some he talks of getting back in
the studio in September; to others he speaks of having finally, definitively,
broken with Pam...and wanting to return home before the fourth of July (bitter
irony); to others still he extends invitations to come stay with him and Pam in
their Parisian idyll. It is all probably true and meant, and to weep for. PGS. 315-316
STRANGE DAYS
RAINER MODDEMANN: The contradictory nature of Jim Morrison as a person becomes
apparent. On the one hand he is plagued with self doubts, depressed with his
immediate surroundings and his poor physical condition, even mentioning the
wish to die, while on the other he's playing the carefree poet, with lots of
plans on his mind, seemingly very glad to be in