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).
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.
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
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.
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!