Anticipating Dylan’s Tempest

Bob Dylan’s new album, Tempest, releases September 11, 2012, exactly eleven years after the release of Love and Theft. Since The Tempest was Shakespeare’s last play, some have wondered if this will be Dylan’s last album. I kind of doubt it, and here’s why. Dylan himself has pointed out that they are two different titles since his drops the article, but he often seems to deflect such questions in interviews. Dylan possesses a proclivity for rewriting Shakespeare, and his upcoming album title is not the only example of said proclivity. Love and Theft clearly shows Dylan’s tendency to re-write Shakespeare. The following list from Love and Theft includes a few of Dylan’s allusions to Shakespeare and allusions to other literary authors and characters.

  • from “Tweedle Dee and Tweedle Dum”

 Dylan’s narrator says, “They’re going to the country and they’re going to retire. They’re taking a streetcar named Desire.” Dylan alludes to Tennessee Williams, making the Williams title a literal mode of transportation for Dylan’s own characters, whose names are taken from characters in Lewis Carroll’s Through the Looking-Glass.

  • from “Floater (Too Much to Ask)”

Dylan sings, “Romeo, he said to Juliet, ‘You got a poor complexion; it doesn’t give your appearance a very youthful touch.’ Juliet said back to Romeo, ‘Why don’t you just shove off if it bothers you so much?’” With this, Dylan improves upon Shakespeare’s tragic love story, giving Juliet a spine and some spunk.

  • from “High Water (for Charley Patton)”

Dylan sings, “Charles [Henry] Lewes told the Englishman, the Italian, and the Jew, ‘You can’t open up your mind, boys, to every conceivable point of view. They got Charles Darwin trapped out there on highway 5.’ Judge says to the High Sheriff, ‘I want him dead or alive, either one. I don’t care,’ high water everywhere.” Lewes was a nineteenth century, English Renaissance man. Here, Dylan fictionalizes Lewes’ life, and Darwin’s is also revised.

 

He says, “Big Joe Turner looking east and west from the dark room of his mind, he made it to Kansas City, Twelfth Street and Vine, nothing standing there, high water everywhere.” Here Dylan rewrites the life of Big Joe Turner, an actual blues man from Kansas City.

 

  •  from “Moonlight”

Dylan sings, “Trailing moss and [mistletoe?], the purple blossoms soft as snow, my tears keep flowing to the sea. Doctor, lawyer, Indian chief, it takes at thief to catch a thief. For whom does the bell toll for [sic], love? It tolls for you and me.” Here Dylan has borrowed from John Donne and Ernest Hemingway and re-used the words for his own purposes. I don’t think of the use as plagiarism; instead, it’s merely an allusion.

 

  • from “Po’ Boy”

The narrator claims, “Othello told Desdemona, ‘I’m cold; cover me with a blanket. By the way, what happened to that poisoned wine?’ She said, ‘I gave it till you drank it.’ Poor boy, laying ‘em straight, picking up the cherries off the plate.” In these lines, the author seems to mash up the plot of Hamlet with the names of Shakespeare’s Othello, allowing Desdemona revenge on Othello for falsely accusing and murdering her.

 

  • from “Cry a While”

Dylan sings, “Last night across the alley, there was a pounding on the wall. It must have been Don Pasquale [breaking in to make] a booty call.” Dylan alludes here to Gaetano Donizetti’s comic opera, Don Pasquale (1843).

 

  • from “Sugar Baby”

The narrator says, “Look up, look up. Seek your maker before Gabriel blows his horn.” Here Dylan alludes to the archangel Gabriel, who explained Daniel’s visions and announced the birth of Jesus to Mary.

Speaking of plagiarism, Dylan was accused of plagiarizing South Carolina poet Henry Timrod on the album, Modern Times. Like me, Timrod was born in Charleston, South Carolina. Also like me, he taught in Florence, SC. Here’s a picture of the school: 

It’s preserved and maintained in Timrod Park, Florence, SC. Obviously, Timrod is an anagram of Modern Times. Examples of lines that Dylan took from Timrod can be found on Wikipedia. Here’s an example of one of the songs off Modern Times called, “Thunder on the Mountain.”

Like Timrod, Dylan is something of a poet. In the mid-sixties, Dylan wrote a book of poetry called Tarantula (1971), which he claims he didn’t intend to write.

In addition to poetry, Dylan has prose literary links, a non-fiction book he wrote called Chronicles: Volume One (2004). So far, there has been no second volume. Here’s a brief audio excerpt of the memoir.

http://www.youtube.com/watch?v=MdIi8T2KrZw

There’s also Dylan’s literary connection with Joyce Carol Oates’ short story, “Where Are You Going, Where Have You Been?” Apparently, Oates was inspired after listening to Dylan’s “It’s All Over, Baby Blue.”

One other indirect literary connection happened in 2000 when Dylan wrote a song for the film Wonder Boys, which was an adaptation of Michael Chabon’s novel of the same name. Check out the awesome video for “Things Have Changed.”

My guess is that Bob Dylan will continue to make albums as long as he’s alive. Based on his past work, Dylan seems bent on re-writing literature and history. Don’t expect him to start changing that now.

Mimicking Great Writers and Eating All Their Food

A hat tip to The Rumpus for passing along this little dandy of an article from The Awl: An A-to-Z listing of famous writers and their food fetishes, such as that of Victor Hugo:

Y is for YOLKS
When living in exile in the Channel Islands, Victor Hugo would rise at dawn and eat 2 raw eggs, drink a cup of cold coffee, then begin writing.

There is a habit among writers — namely writers aiming to cross into the realm of The Known — to mimic the actions of other great writers. We think if we have the writing schedule of Hunter S. Thompson or the home office of William Shakespeare, then maybe we should be able to produce writing that equals their works.

It’s a good idea to learn from successful habits — not that I would be caught mimicking Thompson anytime soon — but at the same time, I think it’s a better idea to forge new ones. In fact, I think it should be a common goal for writers to land on such a list as The Awl assembled. Personally, I find the “B is for Booze” section uninspiring, so perhaps I should aim to be the first author to live solely on broccoli and blueberry juice. It is not that I should want to be set apart by my habits, but that my habits should be a more honest representation of me (and I love broccoli and blueberries).

Set let us endeavor, then, to not mimic, but learn, and then carve our own, wonderful entries in the A-to-Z listing of literature.

Floydd Elliott

SLEEPING IN ANDY’S BED

by Floydd Elliott

     		Lights off and Andy’s stars shine 
down from the ceiling.  I don’t know 
	any of them, but they all seem nice 
		enough.  Buttons sewn into a circle 
pattern, a wreath.  Must be dozens of them, their 
	function subverted 
		for the sake of art.  The smell of man 
I drank up 
	has long left this sewing room and 
		the two cats smile.  Handle with care.  

When I turned 
	I laughed at the scented beach 
		glass, warm and reeking.  Fluffer-nutter 
sandwiches like candy.  Andy must want 
	to eat it, knows all about this, but he’s married now.  
		Even the dolls have a 
safety latch.  
		She does love me.  Leg up 
	in a provocative pose.  Needles, many pictures, 
		scissors and their cuts.  Hallmark cards.  Guilt. 
The blade is always covered for safety.  

	It tasted awful, not privy to my mouth.  
		The two cats smiled, and it tasted worse 
than a handkerchief, embroidered with soap. Put one star 
	in my bedroom mouth. 

		Cards line the bowl, and 
just like last time, there are piles of Indiana.  
	What does Nap-town mean, or even a provocative 
		pose?  Andy must want to eat it.  
The smell of man to handle.  Only one 
	of the dolls is married 
		now.  There are always her magazines, piles 
			of them, well read, investigated, in a special 
order I am not privy to.  Clipped.  Needles, too.  The year 
	or the year in pictures, but definitely many uses for 
		Easter baskets.  Corn is free with purchase here 
in Indiana.  
	Andy’s stars shine down on me.  A
		provocative pose.  But he’s 
			married now and his scent is gone.  
Eat the beach glass, it looks like candy.  
The server is fluffer-nutter like candy sandwiches. 
The ceiling posed upon the window sill 
	invisible, the hope ropes around 
		the doll's ankles, I miss you.

	My function must be subverted 
for the sake of stars.
	Guilt ropes me down.

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Floydd Elliot is a dad, husband, poet, writer, teacher. A recent graduate from NMSU’s Creative Writing Program. Ex-hockey player. Collector of useless things, such as vinyl records, vintage encyclopedias, and beer steins. He hails from Portland, Oregon and misses the rain and floating aroma of hops and barley that haunts the pubs there. Publications include DIN, Sin Fronteras/Writers Without Borders, and The Fun Journal.

Kathleen Hellen

LOVE MISDEMEANORS

by Kathleen Hellen

The adage sentiments the crime.
Hell hath no fury, right?

He’d done you wrong, so you were

Gilda in the role that ruined
Hayworth. You were Scarlett
slapping Rhett.

“Let’s all be manly,” Hepburn said
and she meant it. When Tracy shoved,
she kicked him and they kissed.

No one was confused.
No one was arrested.

If you loved him, if he hurt you,
that relay in your brain to the
amygdala made reason moot.

Even in rehearsals, Davis
slapped Flynn. The vixen Harlow crooned:
“Do it again.”

The Baron slapped Garbo.
Bud slapped the splendor
out of Deanie, fast.

Men slapped women,
women slapped back.

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Kathleen HellenKathleen Hellen is a poet and the author of The Girl Who Loved Mothra (Finishing Line Press, 2010). Awards include the 2012 Washington Writers’ Publishing House Prize in poetry, with her collection, Umberto’s Night, forthcoming. Her work has appeared recently in Barnwood International Poetry Mag, Cimarron Review, The Evansville Review, Harpur Palate, Pedestal, Poemeleon, Poetry Northwest, among others; and was featured on WYPR’s The Signal.

DJ Swykert

DATING AND NON-EXISTENCE

By DJ Swykert

I would rather buy something than sell anything. So it was natural I hated pitching my book to an audience. But I have become accustomed to certain luxuries the affluence designing weapons of mass destruction has afforded me. I absolved the building of these weapons by writing The General Theory of Non-Existence, E=F/0-P. If you don’t exist, nothing matters. Now I must sell the book to eat. Or go back to building bombs.

I stood at the lectern looking out at the audience, listening as the narrator said. “Let’s hear a round of applause for our honored guest, Stanley Golashevsky, physicist and writer.”

As I stare out into the throng, I do not exist. Oh, they can see me, I am standing here, but not one of them has any idea of what is going on in my head, my thoughts are truly non-existent to anyone but myself. So I can look at this attractive blonde woman in the back of the room and see beneath her linen dress, see right to her heart, and nobody is the wiser. I can see this student scholar in the front with the strange colored hair, and know he has more brains than necessary to survive this illusory reality he believes in. And I can look into the minds of the truly academic, whose views I have shared as a contemporary, but also an adversary, as I don’t see the earth as full of such static reasoning as they do. No, the only logic we share is the unpredictability of the atom, but in the random chaos of existence itself we are as separate in our thoughts as logic is to fortune telling.

It is a blonde woman in the back of the room I have decided to focus on. A habit I have always used when speaking in public, something I am not accustomed to, or comfortable with. I overcome my fear by disappearing, becoming non-existent except to a solitary pair of eyes in the crowd. I focus on a person and simply allow the rest to disappear. I have chosen her as my focal point of the evening, stalking her in secret, ignominious, without shame.

I have a short prepared speech to introduce my little book. I clear my throat and begin. “The formula itself is neither a joke nor a mystery. The General Theory of Non-Existence actually works, assuming you will accept the use of numbers to define existence. If the universe has a finite lifetime of 20 billion years, it will ultimately create 20 billion years of past. But it does not create any existence. The future has yet to exist, and the past no longer exists. Reality is the place in between the two, but cannot be measured. The instant the future becomes the present it also becomes the past, with no mathematically defined period of time in between. Therefore, existence must be concluded to be E=F/0-P: Existence equals the Future divided by Zero minus the Past. We are not here.”

There was very little applause, more like a scratching of heads. The atoms of their minds floated above the room like the combined aura of all the reality on earth, but I did not care, my eyes had never left my blonde focal point in the linen dress. I had spoken, lectured on my theory, but never left my own non-existence except with her. I could tell she was with me, had entered my hidden obtuse domain. And unlike my past encounters, my now ancient love for Marilee, I did not wish to evaporate from her into my own reality. I felt a compulsion to remain with her in the comfortable world of our enjoined eyes.

After answering questions, when the profitable moment of signing and selling began, I was pleased to see her at the end of the line and hoped she would ask me a question. Give me the opportunity to escape myself and actually speak to her. “How should I sign the book?” I asked, never looking up, hiding in my most obscure place of darkness.

“Nothing obtrusive, simply: To Lucy, regards, Stanley. That would be enough,” she said.

My heart leaped, but my eyes remained frozen on the book cover, and my pen never quivered. I quickly inscribed the book and signed my name. “Do you have any questions? Anything you would like to ask about the theory?”

I looked into her eyes, hoping for something spectacular, as brilliant as the light that had passed between us all through the lecture. “I am a little amazed that I stood here for an hour to pay for something that doesn’t exist,” Lucy said. “I’ve done more intelligent things with my time—that is, if I have any, if I’m here at all,” she said.

A sly, sadistic little curl formed on her lips. Her eyes danced for a moment, a flicker that eluded her hold on them. I handed her the book and took a deep breath, inhaled the sweet scent of her. For a second I thought I would fugue, blackout, and awaken somewhere else, or nowhere. But it was not to be. And to my own surprise I popped a statement right back at her. As if in fact we were both really here, standing in the immeasurable middle between the future and the past, “Would you like to go somewhere for coffee, maybe a sandwich? I’m hungry. And in spite of my precise formula as to where we are in the continuum of reality, I don’t have a clue where to eat around here. My ability to feed my stomach is non-existent in this city.”

I knew she wasn’t the kind of woman who would normally allow herself to be picked up. Her power to resist desire was greater than her sublimation to it. Yet, I can truly read eyes, and I knew she was at least intrigued with the idea of dining with me. Having coffee with a person so transparently illusive they were perhaps not even here. Visions of The Ghost and Mrs. Muir wandered through her head, and I could see the thought was entertaining.

“There is a small café about two blocks from here. The food is edible, and it’s safe, no harbor for extremists. I often go there for lunch. We can eat there without any disturbance, subtly enjoy the food, coffee, and talk about your book.”

We waltzed swiftly down a few blocks to the café. I opened the door for her, played the gentleman, but allowed Lucy to direct us to a darkened corner, obviously her favorite table. I let Lucy order the food. “You know the menu. Order for me,” I said.

She quickly pointed out a couple of things on the menu to the waiter in an almost inaudible voice, soft, sultry tones I struggled to hear. I think my lack of propriety on our first date, asking her to order, disturbed her. We ate in silence. The food was good, served promptly and inconspicuously. I liked this place. It was lonely, yet full of conversation. Words swirled through the air like wisps of smoke from a cigarette, blending perfectly with the soft jazz music that blew through the room like a Caribbean breeze. “I like your café, Lucy. I feel like I’m here, a part of the place, but not here.”

“Okay, physicist, cut the crap. You are here, the cafe is here, now eat your sandwich.”

And so we did, in silence. After the sandwich she ordered a pot of Turkish coffee and we both sat back in our booth and stared at one another, “Stanley, physicist, and if I had a past life, most likely Attila the Hun, and fond of destruction.”

She shook my hand and said, “Lucy, lawyer, and formerly Jeffery Dahmer in drag. How was the spleen sandwich?”

This was going to be a tough date. “Well, if I’m really here, I like the café. And it does give me the feeling of being here, surrounded with humanity, but alone. It allows the delight of company, but without interruption.”

“Yes,” Lucy agreed with a wicked smile. “You could practice the Kama Sutra up on the table and nobody would give you a look.”

“Then we agree on something,” I said.

She shook her blonde head. “No, we equally enjoy the dim qualities of this sad café. But we agree on nothing.”

“Nothing?”

She looked at me with cold, stone eyes, lit a cigarette, and exhaled the smoke, which hung over my head like a mushroom cloud. “You’re no different than any other man, Stanley. Maybe a little more distant, slipped away from all the other little stars in the male Milky Way. But you’re the same little burning bunch of gas the rest of your male counterparts are made of. You might be alone, but no different.”

She had pinned me, dropped me in the first round. And it made me unhappy. I had so wanted to favorably impress her. I was actually drawn to Lucy, somehow attracted by what I had discovered was her ability to stab me, succinctly, and to the point. “I think perhaps you see me as so completely illogical as to be worthless, an impossible enigma, a twisted sort of rationality. You can’t believe I don’t exist.”

“No, actually, I don’t like the bombs you helped them build. Those were very real. But I don’t see you personally on the fringe of logic the way others see you. The logic behind the formula is poignantly explained, the impossible becoming perhaps the possible. It perfectly describes humanity. I like your philosophic idea of quiet isolation. John Donne was wrong: we are all islands unto ourselves, unless we choose to participate. But all your theory has proved is: we really don’t have to exist. We can remain as abstract as we choose, remain defunct of living, and for all practical purposes we don’t exist. Your theory of nothingness simply massages our conscience, allows us to recreate reality to suit ourselves.”

I should have been drinking vodka instead of Turkish coffee. And perhaps a little nicotine would have helped as well. I was beaten. No, I was caught in my own world. The trapper had stepped in his own trap. I paid for our dinner and we strolled back into the night. In front of the auditorium we stopped at the door. I looked at Lucy the lawyer, the essential jurist. “Well, I don’t suppose we shall meet again,” I said, offering my hand.

Lucy took my hand and leaned closer to me, “My phone number is on the check I wrote paying for your book, just in case you come up with any more theories.”

I watched as she hailed a cab, and climbed inside. Before the cab melted off under the streetlights I said. “I can tell your fortune.”

Lucy rolled down the window, winked, and said. “Then call me.”

As the cab began to pull away I did call her. “Luceeeeeeeeeeeeeeee.”

The brake lights came on and the cab retreated back to the curb.

Lucy and I bought a bottle of Stoli and went to my hotel. We sat on the bed, the bottle of vodka between us. We each took a hearty belt with a little ice water for a chaser. And thus began an interesting evening.

No, we didn’t rip each other’s clothes off. The only time our tongues moved was when we were speaking. We did plunge very thoroughly into one another, though, in thought.

“Okay,” she said. “You explain the stars to me. I will explain the idea of law; fusion by statute instead of atoms.”

It took another healthy swallow before I could begin. “The universe is nothing but a huge stomach. Everything in it is in either the process of consuming or being consumed. From red giants to plankton, there is no difference. Stars consume fuel and produce light, plankton devour light and produce fuel.”
“Laws don’t produce anything, but like gravity, they hold everything together, keep us from blowing apart. They form of order that keep us from killing each other, or, as you prefer, consuming. So, which is more important, existing or remaining?” she said.

Yes, the blonde was very clever, and could hold her liquor. But I had the answer. “Neither. Awareness of existence is all that is relative. If you don’t know you are here, it makes no difference if you are here; realization is the only thing vital to existence—it is existence.”

Lucy laughed out loud. “What about the formula?”

It’s strange the effect a woman and a bottle of vodka can have on the thinking of a man. I looked into Lucy’s eyes, and for perhaps the first time I was glad to be wrong. I wanted to be here. “Do you think we might have a future?”

“You’re the fortune teller. You tell me,” Lucy said.

I took her hand and looked at her palm.

“What do you see?”

My eyes focused on hers. “I see a man in the palm of a hand.”

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DJ SwykertDJ Swykert is a former 911 operator. Short fiction and poetry published in: The Monarch Review, Sand Canyon Review, Zodiac Review, Scissors and Spackle, Spittoon, Barbaric Yawp and BULLChildren of the Enemy, a novel, is available through Cambridge Books. Alpha Wolves, a novel, released May, 2012, available on the Noble Publishing website. You can find him on the blogspot: monicpaul.wordpress.com.