Saltar para: Posts [1], Pesquisa [2]

luís soares

Blog do escritor Luís Soares

Joan Didion on John Wayne

IN THE summer of 1943 I was eight, and my father and mother and small brother and I were at Peterson Field in Colorado Springs. A hot wind blew through that summer, blew until it seemed that before August broke, all the dust in Kansas would be in Colorado, would have drifted over the tar-paper barracks and the temporary strip and stopped only when it hit Pikes Peak. There was not much to do, a summer like that: there was the day they brought in the first B-29, an event to remember but scarcely a vacation programme. There was an officers' club, but no swimming pool; all the officers' club had of interest was artificial blue rain behind the bar. The rain interested me a good deal, but I could not spend the summer watching it, and so we went, my brother and I, to the movies.

We went three and four afternoons a week, sat on folding chairs in the darkened hut which served as a theatre, and it was there, that summer of 1943 while the hot wind blew outside, that I first saw John Wayne. Saw the walk, heard the voice. Heard him tell the girl in a picture called War of the Wildcats that he would build her a house, 'at the bend in the river where the cottonwoods grow'.

As it happened I did not grow up to be the kind of woman who is the heroine in a Western, and although the men I have known have had many virtues and have taken me to live in many places I have come to love, they have never been John Wayne, and they have never taken me to that bend in the river where the cottonwoods grow. Deep in that part of my heart where the artificial rain forever falls, that is still the line I wait to hear.

 

From 'John Wayne: A Love Song' in Slouching Towards Bethlehem: Essays By Joan Didion (1968)

Jorge Luis Borges - The Maker (El Hacedor)

He had never dwelled on memory’s delights. Impressions slid over him, vivid but ephemeral. A potter’s vermilion; the heavens laden with stars that were also gods; the moon, from which a lion had fallen; the slick feel of marble beneath slow sensitive fingertips; the taste of wild boar meat, eagerly torn by his white teeth; a Phoenician word; the black shadow a lance casts on yellow sand; the nearness of the sea or of a woman; a heavy wine, its roughness cut by honey–these could fill his soul completely. He knew what terror was, but he also knew anger and rage, and once he had been the first to scale an enemy wall. Eager, curious, casual, with no other law than fulfillment and the immediate indifference that ensues, he walked the varied earth and saw, on one seashore or another, the cities of men and their palaces. In crowded marketplaces or at the foot of a mountain whose uncertain peak might be inhabited by satyrs, he had listened to complicated tales which he accepted, as he accepted reality, without asking whether they were true or false.

Gradually now the beautiful universe was slipping away from him. A stubborn mist erased the outline of his hand, the night was no longer peopled by stars, the earth beneath his feet was unsure. Everything was growing distant and blurred. When he knew he was going blind he cried out; stoic modesty had not yet been invented and Hector could flee with impunity. I will not see again, he felt, either the sky filled with mythical dread, or this face that the years will transform. Over this desperation of his flesh passed days and nights. But one morning he awoke; he looked, no longer alarmed, at the dim things that surrounded him; and inexplicably he sensed, as one recognizes a tune or a voice, that now it was over and he had faced it, with fear but also with joy, hope, and curiosity. Then he descended into his memory, which seemed to him endless, and up from that vertigo he succeeded in bringing forth a forgotten recollection that shone like a coin under the rain, perhaps because he had never looked at it, unless in a dream.

The recollection was like this. Another boy had insulted him and he had run to his father and told him about it. His father let him talk as if he were not listening or did not understand; and he took down from the wall a bronze dagger, beautiful and charged with power, which the boy had secretly coveted. Now he had it in his hands and the surprise of possession obliterated the affront he had suffered. But his father’s voice was saying, “Let someone know you are a man,” and there was a command in his voice. The night blotted out the paths; clutching the dagger, in which he felt the foreboding of a magic power, he descended the rough hillside that surrounded the house and ran to the seashore, dreaming he was Ajax and Perseus and peopling the salty darkness with battles and wounds. The exact taste of that moment was what he was seeking now; the rest did not matter: the insults of the duel, the rude combat, the return home with the bloody blade.

Another memory, in which there was also a night and an imminence of adventure, sprang out of that one. A woman, the first the gods set aside for him, had waited for him in the shadow of a hypogeum, and he had searched for her through the corridors that were like stone nets, along slopes that sank into the shadow. Why did those memories come back to him, and why did they come without bitterness, as a mere foreshadowing of the present?

In grave amazement he understood. In this night too, in this night of his mortal eyes into this he was now descending, love and danger were again waiting. Ares and Aphrodite, for already he divined (already it encircled him) a murmur of glory and hexameters, a murmur of men defending a temple the gods will not save, and of black vessels searching the sea for a beloved isle, the murmur of the Odysseys and Iliads it was his destiny to sing and leave echoing concavely in the memory of man. These things we know, but not those that he felt when he descended into the last shade of all.

 

(From Dreamtigers, by Jorge Luis Borges, translated by Mildred Boyer)

Extremely Well Written

sparsholt-affair.jpg

From "The Sparsholt Affair" by Alan Hollinghurst (this particular paragraph is set in 1974, when there were blackouts as part of the three-day week):

"All these weeks, the old stove in the workshop was kept drowsily going, with its small scratchy whispers, now and then, of combustion and collapse, and when the power went off it was Johnny’s job to open the air vent, rattle out the cinders, hook up the cast-iron disc of the lid and slide in another helping of coke from the hod. Cyril lit the kerosene lamp, replaced its glass chimney and turned the little wheel to bring up the flame. Once his eyes had adjusted Johnny liked the lamp’s heavy brilliance, renewed, at an angle, in the sloping glass roof above, where he looked up from time to time and watched their upside-down movements. They seemed to twitch and sidle, like creatures in an experiment, according to their own laws and needs, which careful study might explain. The whole crisis was a nuisance and potentially a disaster, but it had these accidental beauties, winter evenings out of the past. There was something banal in the first startled seconds when the radio spoke and the strip light blinked back into life."

Rebel In The Rye

Directed by: Danny Strong
Starring: Zoey Deutch, Kevin Spacey, Nicholas Hoult, Lucy Boynton & Sarah Paulson

The world of legendary writer J. D. Salinger is brought vividly to life in this revealing look at the experiences that shaped one of the most renowned, controversial, and enigmatic authors of our time. Set amidst the colorful backdrop of mid-20th century New York City, Rebel in the Rye follows a young Salinger (Nicholas Hoult) as he struggles to find his voice, pursues a love affair with famed socialite Oona O'Neill (Zoey Deutch), and fights on the frontlines of World War II. It’s these experiences that will inform the creation of his masterpiece, The Catcher in the Rye, bringing him overnight fame (and notoriety) and leading him to withdraw from the public eye for the rest of his life. Costarring Kevin Spacey and Sarah Paulson, Rebel in the Rye offers a tantalizing window into the life and times of a little-understood genius who broke the rules and redefined American literature.

A Little Life

hujar.jpg

Peter Hujar, Orgasmic Man, 1969

Esta fotografia de Peter Hujar está na capa de um dos meus livros favoritos dos últimos anos, "A Little Life", de Hanya Yanagihara, de 2015. Ainda está por traduzir, creio.

life.jpg

From The Washington Post:

As a critic, I find myself in a strange position with Hanya Yanagihara’s “A Little Life.” Her doorstopper novel, about the lives of four college roommates who remain life-long friends, is one of the best new books I’ve read this year. And due to its exceptionally graphic depictions of physical abuse, sexual abuse and self-harm, and the way those depictions infect the narrative like a cancer, it’s one of the few pieces of art that I could be convinced deserves a content warning even for adult readers. I want to tell you all to read it. But I would also completely understand and sympathize with people who heard tell of both the greatness and pain of “A Little Life” and decided to let Yanagihara’s considerable achievement pass them by.

Bob Dylan's Nobel Lecture

When I received this Nobel Prize for Literature, I got to wondering exactly how my songs related to literature. I wanted to reflect on it and see where the connection was. I’m going to try to articulate that to you. And most likely it will go in a roundabout way, but I hope what I say will be worthwhile and purposeful.

If I was to go back to the dawning of it all, I guess I’d have to start with Buddy Holly. Buddy died when I was about eighteen and he was twenty-two. From the moment I first heard him, I felt akin. I felt related, like he was an older brother. I even thought I resembled him. Buddy played the music that I loved – the music I grew up on: country western, rock ‘n’ roll, and rhythm and blues. Three separate strands of music that he intertwined and infused into one genre. One brand. And Buddy wrote songs – songs that had beautiful melodies and imaginative verses. And he sang great – sang in more than a few voices. He was the archetype. Everything I wasn’t and wanted to be. I saw him only but once, and that was a few days before he was gone. I had to travel a hundred miles to get to see him play, and I wasn’t disappointed.

He was powerful and electrifying and had a commanding presence. I was only six feet away. He was mesmerizing. I watched his face, his hands, the way he tapped his foot, his big black glasses, the eyes behind the glasses, the way he held his guitar, the way he stood, his neat suit. Everything about him. He looked older than twenty-two. Something about him seemed permanent, and he filled me with conviction. Then, out of the blue, the most uncanny thing happened. He looked me right straight dead in the eye, and he transmitted something. Something I didn’t know what. And it gave me the chills.

I think it was a day or two after that that his plane went down. And somebody – somebody I’d never seen before – handed me a Leadbelly record with the song “Cottonfields” on it. And that record changed my life right then and there. Transported me into a world I’d never known. It was like an explosion went off. Like I’d been walking in darkness and all of the sudden the darkness was illuminated. It was like somebody laid hands on me. I must have played that record a hundred times.

It was on a label I’d never heard of with a booklet inside with advertisements for other artists on the label: Sonny Terry and Brownie McGhee, the New Lost City Ramblers, Jean Ritchie, string bands. I’d never heard of any of them. But I reckoned if they were on this label with Leadbelly, they had to be good, so I needed to hear them. I wanted to know all about it and play that kind of music. I still had a feeling for the music I’d grown up with, but for right now, I forgot about it. Didn’t even think about it. For the time being, it was long gone.

I hadn’t left home yet, but I couldn’t wait to. I wanted to learn this music and meet the people who played it. Eventually, I did leave, and I did learn to play those songs. They were different than the radio songs that I’d been listening to all along. They were more vibrant and truthful to life. With radio songs, a performer might get a hit with a roll of the dice or a fall of the cards, but that didn’t matter in the folk world. Everything was a hit. All you had to do was be well versed and be able to play the melody. Some of these songs were easy, some not. I had a natural feeling for the ancient ballads and country blues, but everything else I had to learn from scratch. I was playing for small crowds, sometimes no more than four or five people in a room or on a street corner. You had to have a wide repertoire, and you had to know what to play and when. Some songs were intimate, some you had to shout to be heard.

By listening to all the early folk artists and singing the songs yourself, you pick up the vernacular. You internalize it. You sing it in the ragtime blues, work songs, Georgia sea shanties, Appalachian ballads and cowboy songs. You hear all the finer points, and you learn the details.

You know what it’s all about. Takin’ the pistol out and puttin’ it back in your pocket. Whippin’ your way through traffic, talkin’ in the dark. You know that Stagger Lee was a bad man and that Frankie was a good girl. You know that Washington is a bourgeois town and you’ve heard the deep-pitched voice of John the Revelator and you saw the Titanic sink in a boggy creek. And you’re pals with the wild Irish rover and the wild colonial boy. You heard the muffled drums and the fifes that played lowly. You’ve seen the lusty Lord Donald stick a knife in his wife, and a lot of your comrades have been wrapped in white linen.

I had all the vernacular down. I knew the rhetoric. None of it went over my head – the devices, the techniques, the secrets, the mysteries – and I knew all the deserted roads that it traveled on, too. I could make it all connect and move with the current of the day. When I started writing my own songs, the folk lingo was the only vocabulary that I knew, and I used it.

But I had something else as well. I had principles and sensibilities and an informed view of the world. And I had had that for a while. Learned it all in grammar school. Don QuixoteIvanhoeRobinson Crusoe, Gulliver’s TravelsTale of Two Cities, all the rest – typical grammar school reading that gave you a way of looking at life, an understanding of human nature, and a standard to measure things by. I took all that with me when I started composing lyrics. And the themes from those books worked their way into many of my songs, either knowingly or unintentionally. I wanted to write songs unlike anything anybody ever heard, and these themes were fundamental.

Specific books that have stuck with me ever since I read them way back in grammar school – I want to tell you about three of them: Moby Dick, All Quiet on the Western Front and The Odyssey.

____________________

 

Moby Dick is a fascinating book, a book that’s filled with scenes of high drama and dramatic dialogue. The book makes demands on you. The plot is straightforward. The mysterious Captain Ahab – captain of a ship called the Pequod –  an egomaniac with a peg leg pursuing his nemesis, the great white whale Moby Dick who took his leg. And he pursues him all the way from the Atlantic around the tip of Africa and into the Indian Ocean. He pursues the whale around both sides of the earth. It’s an abstract goal, nothing concrete or definite. He calls Moby the emperor, sees him as the embodiment of evil. Ahab’s got a wife and child back in Nantucket that he reminisces about now and again. You can anticipate what will happen.

The ship’s crew is made up of men of different races, and any one of them who sights the whale will be given the reward of a gold coin. A lot of Zodiac symbols, religious allegory, stereotypes. Ahab encounters other whaling vessels, presses the captains for details about Moby. Have they seen him? There’s a crazy prophet, Gabriel, on one of the vessels, and he predicts Ahab’s doom. Says Moby is the incarnate of a Shaker god, and that any dealings with him will lead to disaster. He says that to Captain Ahab. Another ship’s captain – Captain Boomer – he lost an arm to Moby. But he tolerates that, and he’s happy to have survived. He can’t accept Ahab’s lust for vengeance.

This book tells how different men react in different ways to the same experience. A lot of Old Testament, biblical allegory: Gabriel, Rachel, Jeroboam, Bildah, Elijah. Pagan names as well: Tashtego, Flask, Daggoo, Fleece, Starbuck, Stubb, Martha’s Vineyard. The Pagans are idol worshippers. Some worship little wax figures, some wooden figures. Some worship fire. The Pequod is the name of an Indian tribe.

Moby Dick is a seafaring tale. One of the men, the narrator, says, “Call me Ishmael.” Somebody asks him where he’s from, and he says, “It’s not down on any map. True places never are.” Stubb gives no significance to anything, says everything is predestined. Ishmael’s been on a sailing ship his entire life. Calls the sailing ships his Harvard and Yale. He keeps his distance from people.

A typhoon hits the Pequod. Captain Ahab thinks it’s a good omen. Starbuck thinks it’s a bad omen, considers killing Ahab. As soon as the storm ends, a crewmember falls from the ship’s mast and drowns, foreshadowing what’s to come. A Quaker pacifist priest, who is actually a bloodthirsty businessman, tells Flask, “Some men who receive injuries are led to God, others are led to bitterness.”

Everything is mixed in. All the myths: the Judeo Christian bible, Hindu myths, British legends, Saint George, Perseus, Hercules – they’re all whalers. Greek mythology, the gory business of cutting up a whale. Lots of facts in this book, geographical knowledge, whale oil – good for coronation of royalty – noble families in the whaling industry. Whale oil is used to anoint the kings. History of the whale, phrenology, classical philosophy, pseudo-scientific theories, justification for discrimination – everything thrown in and none of it hardly rational. Highbrow, lowbrow, chasing illusion, chasing death, the great white whale, white as polar bear, white as a white man, the emperor, the nemesis, the embodiment of evil. The demented captain who actually lost his leg years ago trying to attack Moby with a knife.

We see only the surface of things. We can interpret what lies below any way we see fit. Crewmen walk around on deck listening for mermaids, and sharks and vultures follow the ship. Reading skulls and faces like you read a book. Here’s a face. I’ll put it in front of you. Read it if you can.

Tashtego says that he died and was reborn. His extra days are a gift. He wasn’t saved by Christ, though, he says he was saved by a fellow man and a non-Christian at that. He parodies the resurrection.

When Starbuck tells Ahab that he should let bygones be bygones, the angry captain snaps back, “Speak not to me of blasphemy, man, I’d strike the sun if it insulted me.” Ahab, too, is a poet of eloquence. He says, “The path to my fixed purpose is laid with iron rails whereon my soul is grooved to run.”  Or these lines, “All visible objects are but pasteboard masks.” Quotable poetic phrases that can’t be beat. 

Finally, Ahab spots Moby, and the harpoons come out. Boats are lowered. Ahab’s harpoon has been baptized in blood. Moby attacks Ahab’s boat and destroys it. Next day, he sights Moby again. Boats are lowered again. Moby attacks Ahab’s boat again. On the third day, another boat goes in. More religious allegory. He has risen. Moby attacks one more time, ramming the Pequod and sinking it. Ahab gets tangled up in the harpoon lines and is thrown out of his boat into a watery grave.

Ishmael survives. He’s in the sea floating on a coffin. And that’s about it. That’s the whole story. That theme and all that it implies would work its way into more than a few of my songs.

____________________

 

All Quiet on the Western Front was another book that did. All Quiet on the Western Front is a horror story. This is a book where you lose your childhood, your faith in a meaningful world, and your concern for individuals. You’re stuck in a nightmare. Sucked up into a mysterious whirlpool of death and pain. You’re defending yourself from elimination. You’re being wiped off the face of the map. Once upon a time you were an innocent youth with big dreams about being a concert pianist. Once you loved life and the world, and now you’re shooting it to pieces.

Day after day, the hornets bite you and worms lap your blood. You’re a cornered animal. You don’t fit anywhere. The falling rain is monotonous. There’s endless assaults, poison gas, nerve gas, morphine, burning streams of gasoline, scavenging and scabbing for food, influenza, typhus, dysentery. Life is breaking down all around you, and the shells are whistling. This is the lower region of hell. Mud, barbed wire, rat-filled trenches, rats eating the intestines of dead men, trenches filled with filth and excrement. Someone shouts, “Hey, you there. Stand and fight.”

Who knows how long this mess will go on? Warfare has no limits. You’re being annihilated, and that leg of yours is bleeding too much. You killed a man yesterday, and you spoke to his corpse. You told him after this is over, you’ll spend the rest of your life looking after his family. Who’s profiting here? The leaders and the generals gain fame, and many others profit financially. But you’re doing the dirty work. One of your comrades says, “Wait a minute, where are you going?” And you say, “Leave me alone, I’ll be back in a minute.” Then you walk out into the woods of death hunting for a piece of sausage. You can’t see how anybody in civilian life has any kind of purpose at all. All their worries, all their desires – you can’t comprehend it.

More machine guns rattle, more parts of bodies hanging from wires, more pieces of arms and legs and skulls where butterflies perch on teeth, more hideous wounds, pus coming out of every pore, lung wounds, wounds too big for the body, gas-blowing cadavers, and dead bodies making retching noises. Death is everywhere. Nothing else is possible. Someone will kill you and use your dead body for target practice. Boots, too. They’re your prized possession. But soon they’ll be on somebody else’s feet.

There’s Froggies coming through the trees. Merciless bastards. Your shells are running out. “It’s not fair to come at us again so soon,” you say. One of your companions is laying in the dirt, and you want to take him to the field hospital. Someone else says, “You might save yourself a trip.” “What do you mean?” “Turn him over, you’ll see what I mean.”

You wait to hear the news. You don’t understand why the war isn’t over. The army is so strapped for replacement troops that they’re drafting young boys who are of little military use, but they’re draftin’ ‘em anyway because they’re running out of men. Sickness and humiliation have broken your heart. You were betrayed by your parents, your schoolmasters, your ministers, and even your own government.

The general with the slowly smoked cigar betrayed you too – turned you into a thug and a murderer. If you could, you’d put a bullet in his face. The commander as well. You fantasize that if you had the money, you’d put up a reward for any man who would take his life by any means necessary. And if he should lose his life by doing that, then let the money go to his heirs. The colonel, too, with his caviar and his coffee – he’s another one. Spends all his time in the officers’ brothel. You’d like to see him stoned dead too. More Tommies and Johnnies with their whack fo’ me daddy-o and their whiskey in the jars. You kill twenty of ‘em and twenty more will spring up in their place. It just stinks in your nostrils.

You’ve come to despise that older generation that sent you out into this madness, into this torture chamber. All around you, your comrades are dying. Dying from abdominal wounds, double amputations, shattered hipbones, and you think, “I’m only twenty years old, but I’m capable of killing anybody. Even my father if he came at me.”

Yesterday, you tried to save a wounded messenger dog, and somebody shouted, “Don’t be a fool.” One Froggy is laying gurgling at your feet. You stuck him with a dagger in his stomach, but the man still lives. You know you should finish the job, but you can’t. You’re on the real iron cross, and a Roman soldier’s putting a sponge of vinegar to your lips.

Months pass by. You go home on leave. You can’t communicate with your father. He said, “You’d be a coward if you don’t enlist.” Your mother, too, on your way back out the door, she says, “You be careful of those French girls now.” More madness. You fight for a week or a month, and you gain ten yards. And then the next month it gets taken back.

All that culture from a thousand years ago, that philosophy, that wisdom – Plato, Aristotle, Socrates – what happened to it?  It should have prevented this. Your thoughts turn homeward. And once again you’re a schoolboy walking through the tall poplar trees. It’s a pleasant memory. More bombs dropping on you from blimps. You got to get it together now. You can’t even look at anybody for fear of some miscalculable thing that might happen. The common grave. There are no other possibilities.

Then you notice the cherry blossoms, and you see that nature is unaffected by all this. Poplar trees, the red butterflies, the fragile beauty of flowers, the sun – you see how nature is indifferent to it all. All the violence and suffering of all mankind. Nature doesn’t even notice it.

You’re so alone. Then a piece of shrapnel hits the side of your head and you’re dead. You’ve been ruled out, crossed out. You’ve been exterminated. I put this book down and closed it up. I never wanted to read another war novel again, and I never did.

Charlie Poole from North Carolina had a song that connected to all this. It’s called “You Ain’t Talkin’ to Me,” and the lyrics go like this:

 

I saw a sign in a window walking up town one day.
Join the army, see the world is what it had to say.
You’ll see exciting places with a jolly crew,
You’ll meet interesting people, and learn to kill them too.
Oh you ain’t talkin’ to me, you ain’t talking to me.
I may be crazy and all that, but I got good sense you see.
You ain’t talkin’ to me, you ain’t talkin’ to me.
Killin’ with a gun don’t sound like fun.
You ain’t talkin’ to me.

____________________

 

The Odyssey is a great book whose themes have worked its way into the ballads of a lot of songwriters: “Homeward Bound, “Green, Green Grass of Home,” “Home on the Range,” and my songs as well.

The Odyssey is a strange, adventurous tale of a grown man trying to get home after fighting in a war. He’s on that long journey home, and it’s filled with traps and pitfalls. He’s cursed to wander. He’s always getting carried out to sea, always having close calls. Huge chunks of boulders rock his boat. He angers people he shouldn’t. There’s troublemakers in his crew. Treachery. His men are turned into pigs and then are turned back into younger, more handsome men. He’s always trying to rescue somebody. He’s a travelin’ man, but he’s making a lot of stops.

He’s stranded on a desert island. He finds deserted caves, and he hides in them. He meets giants that say, “I’ll eat you last.” And he escapes from giants. He’s trying to get back home, but he’s tossed and turned by the winds. Restless winds, chilly winds, unfriendly winds. He travels far, and then he gets blown back.

He’s always being warned of things to come. Touching things he’s told not to. There’s two roads to take, and they’re both bad. Both hazardous. On one you could drown and on the other you could starve. He goes into the narrow straits with foaming whirlpools that swallow him. Meets six-headed monsters with sharp fangs. Thunderbolts strike at him. Overhanging branches that he makes a leap to reach for to save himself from a raging river. Goddesses and gods protect him, but some others want to kill him. He changes identities. He’s exhausted. He falls asleep, and he’s woken up by the sound of laughter. He tells his story to strangers. He’s been gone twenty years. He was carried off somewhere and left there. Drugs have been dropped into his wine. It’s been a hard road to travel.

In a lot of ways, some of these same things have happened to you. You too have had drugs dropped into your wine. You too have shared a bed with the wrong woman. You too have been spellbound by magical voices, sweet voices with strange melodies. You too have come so far and have been so far blown back. And you’ve had close calls as well. You have angered people you should not have. And you too have rambled this country all around. And you’ve also felt that ill wind, the one that blows you no good. And that’s still not all of it.

When he gets back home, things aren’t any better. Scoundrels have moved in and are taking advantage of his wife’s hospitality. And there’s too many of ‘em. And though he’s greater than them all and the best at everything – best carpenter, best hunter, best expert on animals, best seaman – his courage won’t save him, but his trickery will.

All these stragglers will have to pay for desecrating his palace. He’ll disguise himself as a filthy beggar, and a lowly servant kicks him down the steps with arrogance and stupidity. The servant’s arrogance revolts him, but he controls his anger. He’s one against a hundred, but they’ll all fall, even the strongest. He was nobody. And when it’s all said and done, when he’s home at last, he sits with his wife, and he tells her the stories.

____________________

 

So what does it all mean? Myself and a lot of other songwriters have been influenced by these very same themes. And they can mean a lot of different things. If a song moves you, that’s all that’s important. I don’t have to know what a song means. I’ve written all kinds of things into my songs. And I’m not going to worry about it – what it all means. When Melville put all his old testament, biblical references, scientific theories, Protestant doctrines, and all that knowledge of the sea and sailing ships and whales into one story, I don’t think he would have worried about it either – what it all means.

John Donne as well, the poet-priest who lived in the time of Shakespeare, wrote these words, “The Sestos and Abydos of her breasts. Not of two lovers, but two loves, the nests.” I don’t know what it means, either. But it sounds good. And you want your songs to sound good.

When Odysseus in The Odyssey visits the famed warrior Achilles in the underworld – Achilles, who traded a long life full of peace and contentment for a short one full of honor and glory –  tells Odysseus it was all a mistake. “I just died, that’s all.” There was no honor. No immortality. And that if he could, he would choose to go back and be a lowly slave to a tenant farmer on Earth rather than be what he is – a king in the land of the dead – that whatever his struggles of life were, they were preferable to being here in this dead place.

That’s what songs are too. Our songs are alive in the land of the living. But songs are unlike literature. They’re meant to be sung, not read. The words in Shakespeare’s plays were meant to be acted on the stage. Just as lyrics in songs are meant to be sung, not read on a page. And I hope some of you get the chance to listen to these lyrics the way they were intended to be heard: in concert or on record or however people are listening to songs these days. I return once again to Homer, who says, “Sing in me, oh Muse, and through me tell the story.”