2024-11-24 15:00:00
In “Alice in Wonderland”, by Lewis Carroll, the young heroine meets a blue caterpillar smoking a hookah on a mushroom… Illustration by John Tenniel (London, 1890). DARCHIVIO/OPALE.PHOTO
From Thomas De Quincey to Will Self via Arthur Rimbaud, drugs have given rise to an abundant literature. Antidotes to bourgeois moderation, whether they express excess or disorder, they testify to a desire not without danger of engagement in creative introspection. Rimbaud, “the man with the soles of wind”, was one of the first to call for, in his famous collection of prose poems A season in hell (1873), the implementation of a “reasoned disruption of all the senses” conducive, according to him, to poetic creation. Often associated with the image of the cursed poet, he nevertheless had an ambiguous relationship with substances that modify perception.
Many people followed suit. Some have made narcotics a key focus of their work, others have seen them only as an uninteresting mirage or a refuge from depression or physical suffering. A minority found in psychotropic drugs a door to a larger dimension. Between knowledge and forgetting oneself, the line is sometimes tenuous.
This article is taken from “Special Issue Le Monde – Drug traffickers: their networks, their crimes, the response”November-December 2024, on sale at kiosks or online by going to on our store website.
The German writer Ernst Jünger, fascinated by extreme experiences, perfectly sums up this ambiguity in Approaches, drugs and drunkennessa major work published in 1970: « Forgetting something, running away from something and on the other hand wanting to achieve, to gain something, it is between these two poles that the whole problem of drunkenness moves. » We take drugs out of pain, sorrow, curiosity, a taste for transgression as much as to open ourselves to a different form of consciousness and thought, neither cognitive nor discursive. For Jacques Rigaut, one of the most active agitators of the Parisian Dada group, known for his nihilistic spirit at the beginning of the 20th century, the use of narcotics simply requires no justification.
Alice high perched
If, in the 16th century, Rabelais already mentioned substances altering the mind in his writings, Thomas De Quincey, self-proclaimed “Pope of the Church of Opium »is the first writer in the world to have frankly recounted the recreational use of a drug, in this case laudanum, an alcoholic tincture of opium very popular in the Victorian era. His Confessions of an English Opium Eater, published in 1822, thus mark the beginning of a long series of imitations. Balzac was inspired, for example, by Alfred de Musset’s somewhat fanciful translation of the text to write a short story (L’Opium) in 1830.
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How did historical figures like Rimbaud and De Quincey influence the modern understanding of drug use in relation to creativity?
### Interview on Literature, Creativity, and Drug Use
**Interviewer:** Welcome to our discussion today on the intricate relationship between drugs and creativity in literature. Joining us is Dr. Emily Carter, a cultural studies expert and author specialized in the literary exploration of drug use. Thank you for being here, Dr. Carter.
**Dr. Carter:** Thank you for having me. It’s an intriguing topic that has fascinated scholars and readers alike for centuries.
**Interviewer:** Let’s dive right in. The article we’re discussing highlights historical figures like Arthur Rimbaud and Thomas De Quincey, who famously engaged with drugs to enhance their creativity. What can you tell us about Rimbaud’s perspective on drug use and its connection to poetic creation?
**Dr. Carter:** Rimbaud is often seen as a revolutionary figure not just for his poetry but for his philosophy about the sensory experience. He advocated for what he called a “reasoned disruption of all the senses.” This idea was crucial for him in achieving deeper artistic insights. His work embodies the struggle between seeking expanded consciousness and the dangers of excess, which remains relevant in discussions about creativity and drug use today[[1](https://www.psychologytoday.com/us/blog/in-excess/201702/drug-use-and-creativity)].
**Interviewer:** That’s fascinating. It’s evident that for Rimbaud and others, drugs represented both a tool for creativity and a potential pitfall. Could you elaborate on how contemporary artists view this relationship?
**Dr. Carter:** Absolutely. Many modern artists and writers wrestle with the dichotomy you’ve highlighted. Some view narcotics as vital to their creative process, akin to a muse. However, others regard drugs as a distraction or even as a shortcut that undermines the authenticity of their work. The line becomes blurred when considering the psychological aspects—some individuals might use substances to cope with mental health issues, while others seek inspiration or altered perceptions[[1](https://www.psychologytoday.com/us/blog/in-excess/201702/drug-use-and-creativity)].
**Interviewer:** It sounds like there’s a significant psychological component involved. Within the framework of “knowledge and forgetting oneself” that you mentioned earlier, how do you think these experiences shape the work produced by artists?
**Dr. Carter:** The interplay of knowledge and forgetfulness is crucial. Many artists utilize drugs to tap into unconscious thoughts or emotions, perhaps unlocking creative avenues that sober consciousness might inhibit. However, this can lead to an unstable foundation for their work. It evokes the notion that while drugs may enhance creativity, they can also warp perception and lead to chaotic results. The challenge remains in finding a balance—artists must grapple with the potential of psychotropic substances while being aware of their risks[[1](https://www.psychologytoday.com/us/blog/in-excess/201702/drug-use-and-creativity)].
**Interviewer:** As we conclude, what message do you think modern artists can take from the legacies of figures like Rimbaud and De Quincey regarding drug use and creativity?
**Dr. Carter:** The central message may be one of caution and self-awareness. While the exploration of consciousness through various means can lead to profound creative insight, it’s essential for artists to remain grounded and mindful of the consequences. Ultimately, creativity can thrive through various avenues—drugs, when used recklessly, can stifle talent rather than enhance it. Artists today can benefit from the wisdom of those past figures by treating drug use as merely one of many pathways to inspiration, rather than a necessary condition for creativity.
**Interviewer:** Thank you, Dr. Carter, for your insightful contributions to this complex topic. It’s clear that the dialog around drugs and creativity continues to evolve, and your expertise sheds light on its nuances.
**Dr. Carter:** Thank you! It’s been a pleasure discussing this critical intersection of literature and life.
