No one wanted to break on through more than Jim Morrison. Yet when the opportunity finally presented itself, the Electric Poet got cold feet. Nevertheless, he persevered and finally did jump over to the other side in Dutch writer Ineke Verheul's new book The Tenth Life of Jim Morrison.

    This book is a fictional odyssey of Morrison's post-death adventures deep in the heart of Paris. The story begins when Morrison awakens in some kind of weird fog of nothingness, unsure of how he had gotten there. He sees a woman kneeling in the dirt; believing it to be Patricia (Kennealy, although the author doesn't use her last name), he cries out. She doesn't respond. Morrison begins to wonder if he is indeed dead, though he subsequently discards the idea. Paris seems too lively for that.

   Employing the oft-used stranger-at-the-gate technique, Verheul next introduces the character of David, a young boy who seemingly functions as Morrison's post-humous guardian angel. David takes the now homeless, and somewhat truculent, rock star to meet a mysterious elderly Indian, known only as Mr. Jones. While Morrison reluctantly convalesces at the Indian's home, he endures a series of bizarre dreams and adventures that reflect upon and analyze selected segments of his life.

   The first dream begins amid the pre-Miami fight with girlfriend Pamela Courson and proceeds through the disastrous Florida performance and the ill-fated trip to Jamaica. Morrison finds himself on the beach having a curious and poignant conversation with John Densmore, during which the latter reveals his ambivalent feelings about the singer. Densmore just could not understand Morrison's self-destructiveness and doesn't want further explanations at his point. Morrison descends into fury as the dream ends, and he wakes up in a sweat, still at Mr. Jones' home.

   The next morning Morrison decides to visit his friend Agnes (Varda). Although the latter is unavailable, another woman in the apartment lets him in. Jim wonders if she might be Marianne Faithful. She hotly denies this; Morrison learns later that she calls herself Kundry. They end up at a bar and meet two other women. A myriad of complexities ensue in what is arguably the most inscrutable scene in the book. Morrison manages to escape unscathed, only to find himself deep in some dark place gazing longingly upon a group of vagrants steeped in some form of mysterious brotherhood. Morrison finds them intriguing, yet the boy David suddenly appears saying, "You're not ready." He then convinces Morrison to return with him to the old Indian's house.

   Morrison has another dream that night, this one as chaotic and confusing as the first. Basically a summary of his bitter pregnancy entanglement with Patricia Kennealy, this dream ends with tears of grief for what was not to be.

   The book includes numerous and lengthy conversations between Morrison and David. In one such discourse, the former tries to explain his fascination with reptiles and the genesis of the title Lizard King. David suggests in so many words that Morrison craves the spotlight, as it were. Their conversation shifts to their respective disappointments in film and writing; both have been rejected for past efforts.

   By this time Morrison wants to recover his lost identity. They decide to visit the consulate in hopes of replacing his lost papers. The escapade is a disaster; the authorities call Morrison an impostor. They flee to a coffee shop where David decides to give Morrison a gentle push toward the truth.

   "Would you believe me if I showed you your grave?"

   He takes him to the grave, and Morrison goes into shock. A little later he has the last dream.

   This one is about his childhood. During a frightening thunderstorm, the young sleepless boy seeks shelter in his mother's bed. She allows him to stay; he drifts off and dreams that he and his mother are naked together. His mother rebuffs him in horror. He fears terrible consequences when his father finds out.

   Morrison again awakens to the presence of David and Mr. Jones, snarling and snapping like a sea turtle. Eventually the old man turns to David. "Do you think he's ready?" The latter acquiesces, and it's time for the final adventure.

   They observe the group of vagrants Morrison had seen previously. This time, the men sit in a circle. David and the Indian join them first. David then beckons, and Morrison joins the group. It seems that they are watching a movie, one in which he himself stars.

   This is the final Morrison film, the one telling the story about the end of his days. For it also stars Pamela Courson and some lines of white powder. We have all heard the ending. As the picture ends, Morrison joins hands with the others, on the other side at last.

   The Tenth Life of Jim Morrison is not for sissies. It takes concentrated effort to comprehend the subtle nuances of both the characters and plot. In fact this is a character study more than a story per se, as the book tends to focus mainly on dreams and dialogue. Nevertheless, Verheul makes a serious attempt to get inside the mind of Jim Morrison, to understand his relationships with his girlfriends, the other Doors, his parents, and authority in general. She largely succeeds in most respects, although more introspection into his actual poems and songs would elevate the book a bit, which tends to sometimes bog down in fights with girlfriends.

   Still, this is a very creditable and highly readable attempt to find the man behind the myth, behind the movie, and behind the music, as Morrison reaches the other side at last.