Really great piece Graley! I enjoyed it very much, though of course I will never hear I Want You in the same way again, for missing the obvious all these years.
Seeing Dylan the last time in July I had a strong sense that he was using the 'katabasis' narrative as a sort of backbone to his show. The first few songs, about indecision, hesitation and parting of ways, a lot of rivers to be contemplated and crossed into realms, not to be returned from easily. A long and narrow passage way to the outer most point (of the continental United States) to a place of decision or judgement and afterwards deliverance in love (romantic or to the calling of the Muses).
Of course it ties in neatly with Dylan's other great preoccupation, at least in my mind, of artistic fame an legacy, that the 'original' or at least very first katabasis in western literature (in Book 11 of the Odyssey) is closely concerned not only with finding the right way, but also the notion of kleos, fame or renown of the Iliad's great dead heroes.
Funnily enough I remember that back in the days of the Rough and Rowdy Ways release Jacobin had a review that seem to foreshadow the nether-worldly setting of Shadow Kingdom (and isn't that the right title to spin on Greil Marcus' 'Invisible Republic' for a morbid age).
Thanks, Friedrich! I'm glad you got so much out of this piece, and I appreciate your thoughtful reply. I like your idea about katabasis as the backbone of the RARW shows--which I'll get to experience again tomorrow night in Cincinnati! I definitely hear and see the underworld theme on display in Rough and Rowdy Ways and Shadow Kingdom. That will be the subject of the third episode in this series. I agree with you, and with our friend Laura Tenschert, that legacy is very much on Dylan's mind in his latest songs and performances. The Orpheus & Eurydice myth provides a perfect complement to preoccupations with crossing over and looking back.
Well, I am very envious that you get to see Dylan tomorrow, but at least I hope we will all get another great piece on Dylan in Cinncinnati out of it. When I saw him last year I felt that he was absolutely great, back in July he was even better, in a way really absolutely on top of his game. In a way I think the covers he brought out so far are a way of dealing with his legacy as well. Showing his influences, acknowledging influence, connecting himself to a long line of tradition, or rather multiple lines...
Absolutely awesome!! You and Laura are my Dylan whisperers. You uncover so much depth that changes my experience of his imagery and story telling. Thanks again Graley!!
Graley - I just got to read this and plan to progress to Part II later today. It’s another wonderful piece from you that makes me look at what I thought was familiar territory bin an entirely different way. (You did the same for me with TOOM and your book.) I think the new Budokan version of I Want You works perfectly with your thesis here. I am so glad that Bob added a Cincinnati song last night just for you.
Thanks, Roberta! Happy to hear that some of the lightbulbs that went off for me have in turn flipped a switch for you, too. "South of Cincinnati" was north of heaven for me!
Excellent essay! I saw Girl From The North Country on Broadway and instantly purchased the soundtrack on vinyl. I’m so grateful I got to see that performance with the original cast!
Really great piece Graley! I enjoyed it very much, though of course I will never hear I Want You in the same way again, for missing the obvious all these years.
Seeing Dylan the last time in July I had a strong sense that he was using the 'katabasis' narrative as a sort of backbone to his show. The first few songs, about indecision, hesitation and parting of ways, a lot of rivers to be contemplated and crossed into realms, not to be returned from easily. A long and narrow passage way to the outer most point (of the continental United States) to a place of decision or judgement and afterwards deliverance in love (romantic or to the calling of the Muses).
Of course it ties in neatly with Dylan's other great preoccupation, at least in my mind, of artistic fame an legacy, that the 'original' or at least very first katabasis in western literature (in Book 11 of the Odyssey) is closely concerned not only with finding the right way, but also the notion of kleos, fame or renown of the Iliad's great dead heroes.
Funnily enough I remember that back in the days of the Rough and Rowdy Ways release Jacobin had a review that seem to foreshadow the nether-worldly setting of Shadow Kingdom (and isn't that the right title to spin on Greil Marcus' 'Invisible Republic' for a morbid age).
https://jacobin.com/2021/02/bob-dylans-american-apocalypse
Thanks, Friedrich! I'm glad you got so much out of this piece, and I appreciate your thoughtful reply. I like your idea about katabasis as the backbone of the RARW shows--which I'll get to experience again tomorrow night in Cincinnati! I definitely hear and see the underworld theme on display in Rough and Rowdy Ways and Shadow Kingdom. That will be the subject of the third episode in this series. I agree with you, and with our friend Laura Tenschert, that legacy is very much on Dylan's mind in his latest songs and performances. The Orpheus & Eurydice myth provides a perfect complement to preoccupations with crossing over and looking back.
Well, I am very envious that you get to see Dylan tomorrow, but at least I hope we will all get another great piece on Dylan in Cinncinnati out of it. When I saw him last year I felt that he was absolutely great, back in July he was even better, in a way really absolutely on top of his game. In a way I think the covers he brought out so far are a way of dealing with his legacy as well. Showing his influences, acknowledging influence, connecting himself to a long line of tradition, or rather multiple lines...
Absolutely awesome!! You and Laura are my Dylan whisperers. You uncover so much depth that changes my experience of his imagery and story telling. Thanks again Graley!!
Well done.
Graley - I just got to read this and plan to progress to Part II later today. It’s another wonderful piece from you that makes me look at what I thought was familiar territory bin an entirely different way. (You did the same for me with TOOM and your book.) I think the new Budokan version of I Want You works perfectly with your thesis here. I am so glad that Bob added a Cincinnati song last night just for you.
Thanks, Roberta! Happy to hear that some of the lightbulbs that went off for me have in turn flipped a switch for you, too. "South of Cincinnati" was north of heaven for me!
Excellent essay! I saw Girl From The North Country on Broadway and instantly purchased the soundtrack on vinyl. I’m so grateful I got to see that performance with the original cast!