Just a note to say that in an effort to get control of the amount of time I spend online, and to focus on some writing I'm trying to do, I'm making it a rule for myself to stay off the net until noon every day. So I won't see comments made in the morning until the afternoon.
Somewhere or other, sometime or other, I read that G.K. Chesterton, asked whether he was a liberal, answered that he was "the only liberal." I sometimes feel that way. I long ago acquiesced to the fact that in the American political context I'm more or less correctly classified as a conservative. But as the so-common-as-to-be-hackneyed followup to any such statement goes, what American conservatism seeks to conserve is in large part classical liberalism.
It probably doesn't need saying to people who read this blog, but in case it does: "classical liberalism" refers not to what we currently refer to as the liberal faction in contemporary politics, but to a political philosophy which is, in a nutshell, that of the United States of America. Most discussions of it emphasize its economic aspects, which I'm sure is accurate, but I'm not a political philosopher or economist and am not very interested in wrangling over the definition. For my purposes it's the political system described by the Constitution, and a corresponding culture which values self-government, liberty, the rule of law, reason, the free exchange of ideas, religious tolerance, and so on--the whole list of things which until recently were generally agreed upon, all based on what were considered in the 18th century self-evident truths about human nature. The American constitution puts that basic worldview into a system of government, and so I prefer the term "constitutional liberalism." (Also "classical liberalism" has other associations, with capitalism for instance, which I want to avoid--but that's another topic.)
Here's another LP from the closet (not from the Fr. Dorrill collection, most of which is still sitting around in boxes), in response to a conversation I had some weeks ago in which I promised to give it a listen.
Elton John's name has come up here once or twice, and I was pretty dismissive. I'm sorry, but there's something about the guy's music, especially his voice, that doesn't appeal to me, even though I recognize that if I look at it with some detachment I see that the work he did in his prime was really good. Somehow his music always seemed not quite real to me. And I just don't care for his voice. And I never have been fond of the piano as a rock instrument.
I'm told that a local radio host introduced his show that way yesterday. He's referring to the cone on hurricane tracking maps. As of this morning the cone for Hurricane Zeta is narrow and we are not actually in it, according to NOAA. We're in the blue area. If the storm actually follows that track, it won't be a big deal for us. There'll be a strong south wind which maybe will straighten some of those trees bent over by the north winds of Hurricane Sally.
We are really sick of this. This is the fourth time this year that we've been in the cone. Only Sally really affected us, and that was as close to a direct hit as we've had since I moved here in 1992. Thousands of trees were knocked down, and a good number of those fell on power lines. We've never had such an extended power outage--six days, I think. But it could have been a lot worse, as it was only a middling sort of storm as hurricanes go.
Here's the view looking up the street from in front of my house the morning after Sally.
At the middle of that pile is a pine tree about 18 inches in diameter. I'd guess that pines accounted for at least 3/4 of the downed trees. Streets and roads are still lined with piles of debris. I saw an estimate that there's something on the order of a million tons of it. My yard still looks like one of those morning-after battlefield pictures.
This world is highly lacking in empathy and overflowing with judgemental, apathetic douchebags.
It's clear from the context that no irony was intended. Yes, I laughed out loud.
This piece is actually what I was writing when I started thinking about the so-called baby boomer generation, and the whole generations scheme, which led to a separate post on that theme. More about that further down.
A month or two or three ago when this album came out there was a promotional video for it using the first track, "I Contain Multitudes." I listened to it and thought "Well, this is an album I can skip." I mean, Dylan's recent work has been pretty good, but there wasn't all that much that I felt like I couldn't do without. There's so much music I want to hear that I wasn't going to bother with this one. But my friend Stu told me I really should give it a listen. So I did: thanks, Stu.
I do think it's a mixed bag. But the good stuff...well, I'll take it track by track.
"I Contain Multitudes"
(The phrase is from Whitman, as you probably know.) I just don't care much for this. It's not so much a song as a recitation over some not especially effective music. There are some good lines but overall the lyrics are not so great. "I drive fast cars and I eat fast foods / I contain multitudes." It's a good thing that it's not that long.
Now the album really gets started: blues riff, words somewhat on the dark side. I would quote some of it but you really have to hear it in his voice. At six minutes it doesn't seem too long. His vocals are impossible, by which I mean that it seems impossible that they are as effective as they are. As has been the case for some time, it's often a stretch to call what he does singing. But it really works.
"My Own Version of You"
All through the summers and into January
I’ve been visiting morgues and monasteries
Looking for the necessary body parts
Limbs and livers and brains and hearts
I want to bring someone to life - is what I want to do
I want to create my own version of you
Over a descending spooky-movie line the song goes on like that. Is he creating a Frankenstein's monster, or an ideal lover, or maybe even creating God in his own image? I'm not sure--making linear sense is not what Dylan does--but this is a strong track. Everybody knows Dylan traffics in allusion, but I suspect he does it even more than most of us recognize. Like this line: "You can bring it to St. Peter - you can bring it to Jerome."
Because I've had a copy of Bo Diddley's 16 Greatest Hits since I was 18 or so, I happen to know that the second sentence refers to one of his lesser-known songs. I don't know how many people who listen to this album would catch that. Or how many such references I miss.
"I've Made Up My Mind to Give Myself to You"
A love song that, like all love songs, could be addressed either to a person or to God. Every now and then Dylan writes what seems to be a conventional love song, and I tend not to like them. I didn't like "To Make You Feel My Love" on Time Out of Mind and moreover thought it was totally out of place on that album. Not surprisingly, it was covered by some other artists. Anyway, this is good, but not one of my favorites.
I'd call this "pretty good": an interesting lyric, not much musically. As with "Multitudes," it isn't overly long, which is good.
"Goodbye Jimmy Reed"
I love this one. It sounds like Jimmy Reed and the lyrics are sharp. It's a tribute to Reed, with musical and lyrical allusions to some of his songs, and weighted with a sense that he had something that we still need.
"Mother of Muses"
Slow, kind of pretty, a sort of prayer. But I'm afraid I don't care much for it.
"Crossing the Rubicon"
Now this is a killer. There's a pattern in my reactions here: a preference for the more rock-oriented and sharp-tongued songs. This one is both. The more I hear it the more I like it, and want to say it's up there with some of his classics. As the title suggests, it's about a moment of decision and determination in the face of long odds, and it's very powerful:
Three miles north of purgatory, one step from the great beyond:
I prayed to the cross and I kissed the girls
and I crossed the Rubicon
I really wanted to like this one. I've never been to Key West but from what I've seen and heard it must be an enchanting place. This song should enchant, but for me at any rate it does not. And at nine and a half minutes it goes on too long to suit me.
"Murder Most Foul"
Now I will contradict what I said about the pattern of my reactions. ("Do I contradict myself? Very well, I contradict myself.") Superficially this song is like "Multitudes"--really just a recitation over a musical background. And I did not expect to like a 17-minute Dylan song. I expected it to go off the rails, like the long closing song on Time Out of Mind, which spends too much time on a silly episode apparently sparked by rhyming "legs" and "eggs."
This is where the "generations" stuff comes in. In the post I mentioned earlier I argued that if we're going to classify people in that way one of the groups should include those born between roughly 1940 and 1960--which is to say those who had the experience of growing up in the 25 years or so following the end of World War II.
For better or worse, it's a feature of the constantly changing modern world that if you live a normal three-score-and-ten or more you're going to see the world you grew up in disappear. I've seen it happen to my parents and their parents and now it's happening to me. Naturally it often seems to the passing generation that the changes are for the worse, but whether that's actually the case or not, it's a sad thing.
This song is Dylan's farewell to the world he and I grew up in. Or rather to the America we grew up in. And it's a lament, which he hangs on the myth of the Kennedy assassination. I call it a myth because that event became almost immediately a symbol that was at least half-detached from the reality. I was never caught up in the Kennedy mystique--it wasn't a political thing, I guess I just don't care much for Glorious Leader cults. And I never thought much of the idea that the nation lost its innocence at his assassination, and so forth. (America innocent? Oh, come on.) But there is a kernel of truth there: there really was a sense of hope and expectation abroad in the land in the late '50s and early-to-mid '60s, and the assassination was a blow to it, and a symbol of its waning.
Over a quiet and somber background of piano and bowed bass, the song begins with the assassination and then begins branching out into cultural references. A little more than halfway through, it becomes a litany.
Wolfman Jack, he’s speaking in tongues
He’s going on and on at the top of his lungs
Play me a song, Mr. Wolfman Jack
Play it for me in my long Cadillac
Wolfman is requested to "play" one after another mid-century image: songs, movies, people.
Play Oscar Peterson and play Stan Getz
Play Blue Sky, play Dickie Betts
Play Art Pepper, play Thelonious Monk
Charlie Parker and all that junk
All that junk and All That Jazz
Play something for The Birdman of Alcatraz
Play Buster Keaton play Harold Lloyd
Play Bugsy Siegel play Pretty Boy Floyd
The instrumentation grows slightly as it goes on, including a bass drum that sounds as big as a room. It's funeral music for a funeral song or poem, and I find it very moving. The thing about the times is, they never stop changing.
Three writers at National Review give their opinions on voting for him, or not. I hope these links work. They may be subscriber-only.
Of the three, I'm most nearly in agreement with Cooke. However, unless something dramatic happens between now and November 3--and I can't imagine what that could be--I'm going to "vote for Trump." That is, I'm going to vote against Biden/Harris.
It's a Scylla and Charybdis choice. As I may have said here in a comment a while back, I had been thinking of that analogy, but in a mistaken way. I was thinking that Ulysses somehow steered between them, and that our position is worse because we have to choose one or the other. But I was misremembering. Ulysses chose to steer closer to Scylla (monster), who would inevitably eat some of his sailors, rather than to Charybdis (whirlpool), which would result in the loss of the entire ship.
So the analogy is actually precise. I think the damage that will almost inevitably be done by Trump is less than that which the Democrats actively intend.
It's not that I think Trump is a better man than Biden (I think they're both pretty sorry, actually). My great-grandfather was active in Pennsylvania politics as a Democrat, and his daughter, my great-aunt Ann, once told me that he advised her to forget the conventional counsel that one should vote for the man and not the party. On the contrary, he said, voting for (or against) the party is more important, because individual politicians come and go but the party persists and, at least in theory, shares your political principles, at least the most important ones. Here again it's a question of voting against: I don't want the Republican Party's principles, such as they are (whatever they are), to prevail, but I believe the Democrats as a party no longer believe in our form of government, but want to "fundamentally transform" it. I don't. That's a bigger problem and a deeper disagreement than anything involving specific policies.
As Cooke says:
If the Democrats were sensible, I would likely sit this one out. But the Democrats are not sensible. The Democrats are threatening to blow up the American constitutional order in ways that would make President Trump’s execrable excesses seem quaint.
I've been complaining for a long time--yeah, I know, this sentence could end right there, but I'll continue anyway--I've been complaining for a long time about the "generations" construct which is a sort of pop sociology thing that sometimes seems barely a step up from astrology. This chart, harvested from Wikipedia, sums up the system, if we can call it that:
And I think it borders on crazy. I guess it started with the "lost generation" of the 1920s. But that term was just an observation that Gertrude Stein made about a particular set of extremely atypical artists. I don't know whether it was ever applied to an entire cohort of people who just happened to have been born around the same time. It certainly wouldn't have made much sense to classify my wife's grandmother, born ca. 1900 in rural Mississippi and growing up in circumstances more 19th than 20th century, more frontier than suburbia, with Ernest Hemingway's crowd.
And part of the reason why the press is doing so much harm by making Trump seem even worse than he is, which is bad enough. (Not that anybody much is listening to me. This blog has an audience numbered in the dozens at best.) But I'll say it again: sow the wind, reap the whirlwind.
Anyone who doesn't believe that serious left-vs-right violence can't happen here understands neither human nature nor this country nor the real-world effects of spiritual evils such as hatred. And anyone who thinks the evil is all or even mostly on the other side is willfully blind.
...P.G. Wodehouse comes to me.
I wish I could think of a witty completion of that thought, but nothing is coming, so I will just press on with the attempt to write a brief post on this Kindle's simulated keyboard.
I discovered twenty-five years or so ago that reading Wodehouse is for me an excellent medicine for melancholy. It's also quite helpful against anxiety and stress, of which I've had a good bit in the past couple of weeks since Hurricane Sally turned unexpectedly mean a few hours before coming ashore on the night of September 15. We had no damage to life, limb, or property (except for trees), but no electricity for five days, and I started Thank You, Jeeves! by flashlight. (We still don't have internet, hence my composing this on a Kindle at someone else's house.) And the rapidly deteriorating political and cultural condition of this country makes private stresses feel worse.
Trying to rank the Jeeves stories would be foolish. Suffice to say that this one has done its job excellently, and I've had at least one good laugh and a number of chuckles from every chapter. It's a novel, not a story collection, and I tend to prefer these longer works, which have enough narrative space for things to just keep getting nuttier until the happy ending. It has a regrettable element, though: Bertie spends a good part of the story in blackface, having disguised himself as a member of a touring American minstrel show, and uses the forbidden word several times. Jeeves, interestingly, says "Negro."