Bettie Page was a real person. She was a pin-up model, and a very sexual one at that. Some of the photos of her feature her, and others, in states of bondage or domination. What was all the more remarkable is that her career largely spanned the 1950s, often thought of as a very stodgy time.
Page comes up later in the song, so she is not necessarily the "she" spoken of in the song's opening line. All we know for certain is that the person in question is compared to Page later on.
The opening line seems to have been something someone said to Vega, about someone else. Which made Vega wonder, what does a pornographer have left to dream of? Can't he write and direct any scenario he can imagine? As she put it, "What kind of a dream would he have/ That hadn't been spent?"
No, he wouldn't dream of the "flesh" he could have access to. Rather: "Wouldn't he dream of the thing/ He never could never quite get the touch of?... He's dreaming of what might be... of mystery."
Now, we turn to Page (pun intended). If anyone was, she was a pornographer's dream-- her proportions, her openness, her bravery, her sunshine-bright smile-- at once innocent and seductive. But what was the real secret of her, well, success as a pin-up?
It's the element of surprise. "Who's to know what she'll show?" In other words, is it "what she reveals, or what she conceals" that "is the key to our pleasure?"
The pornographer dreams of the women whose sexual contours and comportment he will never capture on camera. The viewer of a Page pin-up is as excited by the "leather" she wears as he is by the bare parts of her body.
Someone tossed an unusual remark to Vega, and she caught it. She knew that the person had simply meant to say that the woman in question was very sexy. But what he hadn't realized he had implied that what was sexy about her was that she was unattainable. She would remain a "dream."
"Out of our hands, over our heads," and other expressions are employed... but even Vega is no match for Keats, who dedicated his famed "Ode on a Grecian Urn" to this very subject: "Bold Lover, never, never canst thou kiss/ Though winning near the goal... She cannot fade, though thou hast not thy bliss/ For ever wilt though love, and she be fair!"
Some things are best kept "out of reach," enshrined in art, but not experienced in reality. Whether captured on a ceramic vase or a piece of film, "a thing of beauty is a joy forever" (same poet, different poem).
Next Song: Frank and Ava
Showing posts with label dream. Show all posts
Showing posts with label dream. Show all posts
Monday, July 25, 2016
Monday, April 18, 2016
(I'll Never Be) Your Maggie May
This type of song is known as a "response" song. In this case, it is response to a song sung by Rod Stewart called "Maggie May." At the time, this Maggie May person, as depicted in that song, would have been called, perhaps, a "Mrs. Robinson," while today she would be called a "MILF" or "cougar."
In that song, the speaker doesn't know what he wants, and is clearly ambivalent about his feelings for her, but in the end decides to leave.
Vega sees this type of relationship from the woman's viewpoint. "I'll never be your Maggie May/ the one you loved and left behind." (How does she know this so certainly? Spoiler Alert: she leaves him).
[One quibble: "That isn't me in bed you'll find" is an unfortunately forced rhyme. That poor phrase is doing some major contortions.]
She compares herself to a geisha in the next verse, interestingly. Although how accurate to the geisha lifestyle she is, I have no idea. I suppose there are many reasons to adopt such a lifestyle, and many ways to enact it.
Then, this small bridge: "And so you go/ No girl could say no/ To you." Wait... wasn't she the one who was going to "go" and leave him? Maybe in his mind, he will do the leaving.
As far as the next line, there is no issue. You might ask, again, "How can it be that no girl can refuse him... didn't she just do that?" Ah, but she is no "girl," is she? Isn't that the point? She's a full-grown woman.
One reason she knows it cannot last is that he has no guile, and so no suspicion. In fact, "we may... change" how we "appear," but she knows he will never "see within," or "ha[ve] that sight."
To make up for the lyrical mis-step above, Vega offers this clever bait and switch. We expect she is going to say that people "change from day to day," but the line is that people change "from day to night," adding a sexual element to such alterations.
Now comes the "spoiler" promised above. She will never be his Maggie May, because "I'll love you first and let you go." It's the old "You can't quit-- you're fired!" gambit.
Why? "Because it must be so." She is wise enough to know that, since it can't last, the quicker she pulls off the Band-Aid, the better.
What about his feelings? "You'll forgive or you will not." Cold, but also realistic. She can't be responsible for his reaction.
"And so a world turns on its end," with the breakup. This sounds like a catastrophe... but doesn't the world spin on its magnetic pole already? This may be taken two ways-- it's the end of the world, or it's business as usual-- because the breakup also can have differing interpretations.
Still, she will miss him, or at least remember him: "I'll see your face in dreams."
The song ends with an admission. She left him-- among other reasons-- because he couldn't keep up with how people change from "day to night." But... she can't either. In these dreams, she says, "nothing's as it seems."
How bad is her intuition? In these dreams, he "still appear[s] some kind of friend."
And so perhaps she dislikes that aspect of his personality because she shares it.
Yeah, that's not going to work...
Next Song: It Makes Me Wonder
In that song, the speaker doesn't know what he wants, and is clearly ambivalent about his feelings for her, but in the end decides to leave.
Vega sees this type of relationship from the woman's viewpoint. "I'll never be your Maggie May/ the one you loved and left behind." (How does she know this so certainly? Spoiler Alert: she leaves him).
[One quibble: "That isn't me in bed you'll find" is an unfortunately forced rhyme. That poor phrase is doing some major contortions.]
She compares herself to a geisha in the next verse, interestingly. Although how accurate to the geisha lifestyle she is, I have no idea. I suppose there are many reasons to adopt such a lifestyle, and many ways to enact it.
Then, this small bridge: "And so you go/ No girl could say no/ To you." Wait... wasn't she the one who was going to "go" and leave him? Maybe in his mind, he will do the leaving.
As far as the next line, there is no issue. You might ask, again, "How can it be that no girl can refuse him... didn't she just do that?" Ah, but she is no "girl," is she? Isn't that the point? She's a full-grown woman.
One reason she knows it cannot last is that he has no guile, and so no suspicion. In fact, "we may... change" how we "appear," but she knows he will never "see within," or "ha[ve] that sight."
To make up for the lyrical mis-step above, Vega offers this clever bait and switch. We expect she is going to say that people "change from day to day," but the line is that people change "from day to night," adding a sexual element to such alterations.
Now comes the "spoiler" promised above. She will never be his Maggie May, because "I'll love you first and let you go." It's the old "You can't quit-- you're fired!" gambit.
Why? "Because it must be so." She is wise enough to know that, since it can't last, the quicker she pulls off the Band-Aid, the better.
What about his feelings? "You'll forgive or you will not." Cold, but also realistic. She can't be responsible for his reaction.
"And so a world turns on its end," with the breakup. This sounds like a catastrophe... but doesn't the world spin on its magnetic pole already? This may be taken two ways-- it's the end of the world, or it's business as usual-- because the breakup also can have differing interpretations.
Still, she will miss him, or at least remember him: "I'll see your face in dreams."
The song ends with an admission. She left him-- among other reasons-- because he couldn't keep up with how people change from "day to night." But... she can't either. In these dreams, she says, "nothing's as it seems."
How bad is her intuition? In these dreams, he "still appear[s] some kind of friend."
And so perhaps she dislikes that aspect of his personality because she shares it.
Yeah, that's not going to work...
Next Song: It Makes Me Wonder
Tuesday, February 16, 2016
Honeymoon Suite
Get your mind out of the gutter right now. This song is not about what (ahem) happens in the privacy of a newlywed couple's hotel room.
This is about a nightmare the groom has, during the honeymoon.
First, we see the room itself. It is in "France," and the ceiling is painted with "angels in a dance." This is a nice detail, but it also presages another sort of procession, one in a dream. A dream often uses whatever imagery the waking mind had handy as fodder.
Her new husband has a "was not feeling well," a sure-fire killer of a romantic mood, so when they "went to bed," it was, disappointingly, in the literal sense. Sleep does not provide a cure, sadly. He wakes up with a headache.
He describes to her his nighttime experience: "A hundred people" of varying ages "had come through our room that night" and each "asked if he was all right." They each "lined up to touch his hand." But he told each in turn, "They had come for the wrong man."
But did they? He was sick, and they were asking if he was OK, something you only ask sick people. So while he dismissed their help out of pride or shame, they kept coming.
Perhaps superstitiously, the couple decides the dream was not the result of a malady or a reaction to a heavily-sauced French dinner, or even a night of Parisian club-hopping. It is also not thought to be a subconscious reaction to another circumstance in the man's life, such as getting married or simply sleeping under a picture of people in an endless line.
No, they ask the concierge if there had been an incident in the room, "a death, or something strange." She smiles, but says nothing.
Again odd is the new wife's reaction. She does not try to interpret the dream. She does not worry about her husband's mental state, either in the sense of "Gee, I hope he's OK," or "Did I just marry a crazy person?"
Instead, she makes this about her. "What I'd like to know is... with all the people in that room/ Why none appeared to me?"
This may seem like a joke. Of course you can't see figures in someone else's dream. Not outside of a sci-fi movie, anyway.
But she presses her point. "When we sleep so close together that our hair becomes entwined/ I must have missed that moment in the gateway to his mind."
If she is really that concerned about not feeling emotionally connected to her new husband, perhaps she should be asking a different question. She never could have seen what was inside his dreaming mind.
But she should wonder why, with all the people the man imagined asking after his welfare, why were none of them her? To be fair, he didn't seem to imagine any of his family, friends, or co-workers asking him if he was "all right," either.
Still, if any one person should be there, shouldn't it be her? Why didn't he see her asking if he were OK? And not in some queue, either, but at his sickbed's side?
Here is a man so physically miserable, he can't even enjoy his honeymoon. And instead of worrying if he is in need of medical attention, or if he's psychosomatically reacting to whatever it is his dream is about, she is worrying that he's keeping secrets from her... secrets he doesn't even know he has!
What if you were this woman's friend, and received this phone call: "Oh, Paris is fine, and we have a lovely room. But last night, that new husband of mine had a dream, and I didn't have the same dream! I have no idea what the dream means, and who cares. Hmm? Oh, the dream was about people asking if he's OK. Is he OK? No, he was so sick he had to go to bed early and woke up this morning with a headache. But the real problem is that I can't read his subconscious mind."
If she missed a "gateway" to his mind, it may be that it's because she was so focused on her own. And he may have been dreaming that a thousand strangers were asking if he was OK because his deepest wish is that someone-- like the love of his life over here-- would actually ask.
There seems to be a vicious circle, here. He worries that she doesn't care, so he shuts her out... and she worries that he doesn't share, so she retreats inward. He, at least, is trying to reach out by telling her his dream. Now she has to reach back and try to help him understand his dream's meaning.
She's upset that she doesn't know his dream? But she does! He just told it to her!
It's time for her to stop bothering the benighted hotel staff with her problems, imagining ghosts of murder victims, and talk to her husband about himself. About his view of their relationship.
Then, the next time he dreams about strangers asking him how he is, he can tell those dream-figures, "Don't worry about me. I'm fine-- my wife's taking good care of me."
This is about a nightmare the groom has, during the honeymoon.
First, we see the room itself. It is in "France," and the ceiling is painted with "angels in a dance." This is a nice detail, but it also presages another sort of procession, one in a dream. A dream often uses whatever imagery the waking mind had handy as fodder.
Her new husband has a "was not feeling well," a sure-fire killer of a romantic mood, so when they "went to bed," it was, disappointingly, in the literal sense. Sleep does not provide a cure, sadly. He wakes up with a headache.
He describes to her his nighttime experience: "A hundred people" of varying ages "had come through our room that night" and each "asked if he was all right." They each "lined up to touch his hand." But he told each in turn, "They had come for the wrong man."
But did they? He was sick, and they were asking if he was OK, something you only ask sick people. So while he dismissed their help out of pride or shame, they kept coming.
Perhaps superstitiously, the couple decides the dream was not the result of a malady or a reaction to a heavily-sauced French dinner, or even a night of Parisian club-hopping. It is also not thought to be a subconscious reaction to another circumstance in the man's life, such as getting married or simply sleeping under a picture of people in an endless line.
No, they ask the concierge if there had been an incident in the room, "a death, or something strange." She smiles, but says nothing.
Again odd is the new wife's reaction. She does not try to interpret the dream. She does not worry about her husband's mental state, either in the sense of "Gee, I hope he's OK," or "Did I just marry a crazy person?"
Instead, she makes this about her. "What I'd like to know is... with all the people in that room/ Why none appeared to me?"
This may seem like a joke. Of course you can't see figures in someone else's dream. Not outside of a sci-fi movie, anyway.
But she presses her point. "When we sleep so close together that our hair becomes entwined/ I must have missed that moment in the gateway to his mind."
If she is really that concerned about not feeling emotionally connected to her new husband, perhaps she should be asking a different question. She never could have seen what was inside his dreaming mind.
But she should wonder why, with all the people the man imagined asking after his welfare, why were none of them her? To be fair, he didn't seem to imagine any of his family, friends, or co-workers asking him if he was "all right," either.
Still, if any one person should be there, shouldn't it be her? Why didn't he see her asking if he were OK? And not in some queue, either, but at his sickbed's side?
Here is a man so physically miserable, he can't even enjoy his honeymoon. And instead of worrying if he is in need of medical attention, or if he's psychosomatically reacting to whatever it is his dream is about, she is worrying that he's keeping secrets from her... secrets he doesn't even know he has!
What if you were this woman's friend, and received this phone call: "Oh, Paris is fine, and we have a lovely room. But last night, that new husband of mine had a dream, and I didn't have the same dream! I have no idea what the dream means, and who cares. Hmm? Oh, the dream was about people asking if he's OK. Is he OK? No, he was so sick he had to go to bed early and woke up this morning with a headache. But the real problem is that I can't read his subconscious mind."
If she missed a "gateway" to his mind, it may be that it's because she was so focused on her own. And he may have been dreaming that a thousand strangers were asking if he was OK because his deepest wish is that someone-- like the love of his life over here-- would actually ask.
There seems to be a vicious circle, here. He worries that she doesn't care, so he shuts her out... and she worries that he doesn't share, so she retreats inward. He, at least, is trying to reach out by telling her his dream. Now she has to reach back and try to help him understand his dream's meaning.
She's upset that she doesn't know his dream? But she does! He just told it to her!
It's time for her to stop bothering the benighted hotel staff with her problems, imagining ghosts of murder victims, and talk to her husband about himself. About his view of their relationship.
Then, the next time he dreams about strangers asking him how he is, he can tell those dream-figures, "Don't worry about me. I'm fine-- my wife's taking good care of me."
Monday, January 4, 2016
Stockings
The main character in this song is a woman who can be described as a "tease." She delights in flirting, even as she has no intention of fulfilling the desire she provokes.
The speaker in this song is a person-- perhaps a man, perhaps a woman-- who is caught in this web of enticement. Unfortunately, they seem to be trapped in what is commonly (at least today) known as The Friend Zone, the emotional space in which one will be a person's friend, but never anything more.
The first line is from the woman, whose technique for starting a conversation is to call attention to her legs: "'I don't care for tights,' she says... she hikes her skirt... revealing one brown thigh." (As in "Caramel," it seems the target of desire is a person of color. Or at least some who has spent some time in the sun.)
The speaker, who notices this flash of flesh, instead focuses on her "slender little fingers." Then, in a (very) off rhyme, the speaker muses that they "pull upon/ The threads of recent slumbers." Does this mean "dreams"? Has s/he been fantasizing about her at night?
Then the speaker defines a border of The Friend Zone, "where friendship ends/ And passion does begin." And it lies "between... her stockings and her skin." A friend can see the stocking, but nothing more, not the skin itself. The border is as sheer and transparent as nylon stockings.
One small complaint: While it is admirable to try to rhyme "skin" with "begin," it becomes clunky to add the "does." We have already had "fingers/slumbers," so rhyming "skin" with "where passion begins" would have been preferable to the stilted "does begin." This isn't even speech being transmitted, it's thought... so the rules of grammar are even less expected.
The Friend-Zone denizen still harbors some hope. Maybe since it is late, "she'll ask me to go dance?" (Again, "out to dance" would be better. It's "go dancing.") "But something in the way she laughed/ Told me I had no chance."
So... there never was an invitation to dance, just a hope of one. And then the speaker reads intention into something her laughs, even. It's unnerving when you know you have no chance, but think maybe you're wrong and that perhaps you do...?
Then we shift to what else we know about this temptress. Her reputation in her family, which the speaker feels is undeserved, is that she was "never nice." The speaker says that it is more subtle than that-- she is "very" nice, but that niceness comes at a "price" that is not initially evident.
The speaker, armed with this realization, again tries to find the border of The Friend Zone and finds it may also be in alcohol and its ability to lower inhibitions. "When the gin and tonic/ Makes the room begin to spin." Yes, the speaker asks "where" and answers him/herself "when." This may be one gin and tonic too many.
If we have been working our way through the stages of grief, here, we have already passed through Denial, Bargaining, and Depression (we don't seem to have experienced Anger) and have arrived at Acceptance: "There may be attraction here/ But it will never flower."
So... what now? "I'm assigned to read her mind/ In this witching hour." Wow, it's already midnight? That is late. But more to the point, why "assigned"? I heard "resigned," which I think makes more immediate sense. But "assigned" implies that someone did the assigning. Did the speaker assign him/herself? Why?
The woman certainly didn't. Unless the speaker assumed that she implied that she did at some point, which is totally in character for our befuddled speaker.
The speaker now admits that dealing with being teased is "no game for those... easily bruised." Very true.
Then s/he says something revealing: "But how can I complain/ When she's so easily amused?" At least, if s/he can't be with her in the intimate sense, s/he can be in her tantalizing company-- she's willing to keep our speaker around as entertainment, at least.
But is that all that's keeping him/her there? Having the one who toys with him/her as an audience? Once more, we find the problem with being in The Friend Zone. No, there is no way out of it into her Sanctum Sanctorum...
But there is also no way out of it and back into autonomy. Like a comet that has become a planet, s/he is trapped in her orbit-- unable to land on the surface but equally unable to break free and resume careening across the solar system.
So, there is no way out of the The Friend Zone that ends up being closer to the woman. But there is also no way out that ends up being apart from her, either, with the Zone lying unoccupied in between the two parties. As the speaker puts it: "She does not show you the way out, on the way in."
The Friend Zone lies "between the binding of her stockings and her skin." And so we see there are two meanings to the word "binding." Our speaker is bound up in this elastic edge of the stocking.
Never to be fully joined, but never to be fully free. In limbo.
Next Song: Casual Match
The speaker in this song is a person-- perhaps a man, perhaps a woman-- who is caught in this web of enticement. Unfortunately, they seem to be trapped in what is commonly (at least today) known as The Friend Zone, the emotional space in which one will be a person's friend, but never anything more.
The first line is from the woman, whose technique for starting a conversation is to call attention to her legs: "'I don't care for tights,' she says... she hikes her skirt... revealing one brown thigh." (As in "Caramel," it seems the target of desire is a person of color. Or at least some who has spent some time in the sun.)
The speaker, who notices this flash of flesh, instead focuses on her "slender little fingers." Then, in a (very) off rhyme, the speaker muses that they "pull upon/ The threads of recent slumbers." Does this mean "dreams"? Has s/he been fantasizing about her at night?
Then the speaker defines a border of The Friend Zone, "where friendship ends/ And passion does begin." And it lies "between... her stockings and her skin." A friend can see the stocking, but nothing more, not the skin itself. The border is as sheer and transparent as nylon stockings.
One small complaint: While it is admirable to try to rhyme "skin" with "begin," it becomes clunky to add the "does." We have already had "fingers/slumbers," so rhyming "skin" with "where passion begins" would have been preferable to the stilted "does begin." This isn't even speech being transmitted, it's thought... so the rules of grammar are even less expected.
The Friend-Zone denizen still harbors some hope. Maybe since it is late, "she'll ask me to go dance?" (Again, "out to dance" would be better. It's "go dancing.") "But something in the way she laughed/ Told me I had no chance."
So... there never was an invitation to dance, just a hope of one. And then the speaker reads intention into something her laughs, even. It's unnerving when you know you have no chance, but think maybe you're wrong and that perhaps you do...?
Then we shift to what else we know about this temptress. Her reputation in her family, which the speaker feels is undeserved, is that she was "never nice." The speaker says that it is more subtle than that-- she is "very" nice, but that niceness comes at a "price" that is not initially evident.
The speaker, armed with this realization, again tries to find the border of The Friend Zone and finds it may also be in alcohol and its ability to lower inhibitions. "When the gin and tonic/ Makes the room begin to spin." Yes, the speaker asks "where" and answers him/herself "when." This may be one gin and tonic too many.
If we have been working our way through the stages of grief, here, we have already passed through Denial, Bargaining, and Depression (we don't seem to have experienced Anger) and have arrived at Acceptance: "There may be attraction here/ But it will never flower."
So... what now? "I'm assigned to read her mind/ In this witching hour." Wow, it's already midnight? That is late. But more to the point, why "assigned"? I heard "resigned," which I think makes more immediate sense. But "assigned" implies that someone did the assigning. Did the speaker assign him/herself? Why?
The woman certainly didn't. Unless the speaker assumed that she implied that she did at some point, which is totally in character for our befuddled speaker.
The speaker now admits that dealing with being teased is "no game for those... easily bruised." Very true.
Then s/he says something revealing: "But how can I complain/ When she's so easily amused?" At least, if s/he can't be with her in the intimate sense, s/he can be in her tantalizing company-- she's willing to keep our speaker around as entertainment, at least.
But is that all that's keeping him/her there? Having the one who toys with him/her as an audience? Once more, we find the problem with being in The Friend Zone. No, there is no way out of it into her Sanctum Sanctorum...
But there is also no way out of it and back into autonomy. Like a comet that has become a planet, s/he is trapped in her orbit-- unable to land on the surface but equally unable to break free and resume careening across the solar system.
So, there is no way out of the The Friend Zone that ends up being closer to the woman. But there is also no way out that ends up being apart from her, either, with the Zone lying unoccupied in between the two parties. As the speaker puts it: "She does not show you the way out, on the way in."
The Friend Zone lies "between the binding of her stockings and her skin." And so we see there are two meanings to the word "binding." Our speaker is bound up in this elastic edge of the stocking.
Never to be fully joined, but never to be fully free. In limbo.
Next Song: Casual Match
Monday, July 20, 2015
Book of Dreams
As befits a song about dreams, this song is surreal, full of non-sequiturs, and stream of conscious-- or, more accurately, subconscious-- imagery and sound.
It is constructed to feel unconstructed, yet to deconstruct it is our task.
The song begins with the repeated line that contains the title: "In my book of dreams." This repetition serves to flash a warning: dream-imagery ahead! It also mimics the rhythm of someone drifting off, or the repetitious movements made to induce hypnotic slumber.
The wind that pushes us into the waters of the subconscious is an "urgent whisper." This is not given, but taken for this purpose, and from the "you," perhaps the listener (whom we shall consider a man for clarity's sake alone, to be able to use a different pronoun).
We know these are waters we travel because of the next series of images. The "arc of a white wing," which was not just taken this time but stolen, could be that of a seagull, or perhaps a sail looks like a white wing . Then she "rode like foam on the river... turned its tide..." So yes, the dreamworld is more an waterway, in which there are no roads, barriers or borders, than a land-bound place.
However, this is not a river of water. It is a "river of pity." She does not sink into it, but rides like foam on its surface. This recalls the expression "to wallow in pity," which this speaker decidedly does not do. Instead, she turns pity's tide to "strength." In doing so, she "heals" a "hole" than had been "ripped" in... not the sailcloth, but in "living."
So the dreamer has undergone some recent trauma, a hole that was ripped in her life. But rather than succumb to pity, she responded with fortitude. This is reflected in the active, forceful verbs that start each line: "took," "stole," "turned" "healed."
Even "rode" is not passive here. We car passengers think to "ride" is passive while to "drive" is active, but here she "rode the foam," like a horse or bicycle, so the verb reflects an actor, not one acted upon or along for the ride.
Evidently, she records her dreams in a journal or book, and a hardy one, too: "The spine is bound to last for life/ Tough enough to take the pounding." This could also refer to her own backbone, which we have just seen is formidable.
The pages of the book are "made of days of open hand" (whence the album's title). This expression implies that her days are spent in opening her hand, a gesture of both generosity and acceptance, as well as honesty.
Further, we see that the book is considered important, as the pages are numbered in "silver." This could also be a reference to money; this book also has elements of a ledger of accounts.
Yet, the book is also mundane, as the highlights are not done in gold or diamonds, say, but in ho-hum "magic marker"-- which sounds "magical" but which everyone knows is not.
We have been working, to this point, under the assumption that the book is a record of her dreams. Yet, we now she she uses it to "take the name of every prisoner." This is a somewhat shocking revelation! Does she really feel that those who have relationships with her are trapped by her, captured and kept, with no freedom to leave? Or is it that this idea applies to those in her dreams?
Perhaps he is not the victim... but she is. She may want to let people, thoughts, images, go-- but cannot. They are trapped in her memory, and they stalk the prison yards and dungeon passages of her dreams. Therefore, their names are in her book.
She promises that "yours is there," meaning the name of whomever is being addressed. He hopes that he is trapped only in her memory and subconscious, not her clutches...
The first verse was about active dreaming. She says she "stole [his] urgent whisper," and then proceeds to ignore it, and the pity that came with it. Instead, she actively turns the tide and heals the hole in her life. Then she describes her dream journal as being strong as well, and both special and approachable.
She concludes by telling the listener-- the ones that whispered pity before-- that he is part of her dreams, even though she rejected his sympathy. She still recalls the fact of it, and seems to even use it as a pushing-off point. Her rejection of the pity is part of what drives her to heal herself.
She doesn't thank him for this. But she doesn't forget him, either.
Next Song: Institution Green
It is constructed to feel unconstructed, yet to deconstruct it is our task.
The song begins with the repeated line that contains the title: "In my book of dreams." This repetition serves to flash a warning: dream-imagery ahead! It also mimics the rhythm of someone drifting off, or the repetitious movements made to induce hypnotic slumber.
The wind that pushes us into the waters of the subconscious is an "urgent whisper." This is not given, but taken for this purpose, and from the "you," perhaps the listener (whom we shall consider a man for clarity's sake alone, to be able to use a different pronoun).
We know these are waters we travel because of the next series of images. The "arc of a white wing," which was not just taken this time but stolen, could be that of a seagull, or perhaps a sail looks like a white wing . Then she "rode like foam on the river... turned its tide..." So yes, the dreamworld is more an waterway, in which there are no roads, barriers or borders, than a land-bound place.
However, this is not a river of water. It is a "river of pity." She does not sink into it, but rides like foam on its surface. This recalls the expression "to wallow in pity," which this speaker decidedly does not do. Instead, she turns pity's tide to "strength." In doing so, she "heals" a "hole" than had been "ripped" in... not the sailcloth, but in "living."
So the dreamer has undergone some recent trauma, a hole that was ripped in her life. But rather than succumb to pity, she responded with fortitude. This is reflected in the active, forceful verbs that start each line: "took," "stole," "turned" "healed."
Even "rode" is not passive here. We car passengers think to "ride" is passive while to "drive" is active, but here she "rode the foam," like a horse or bicycle, so the verb reflects an actor, not one acted upon or along for the ride.
Evidently, she records her dreams in a journal or book, and a hardy one, too: "The spine is bound to last for life/ Tough enough to take the pounding." This could also refer to her own backbone, which we have just seen is formidable.
The pages of the book are "made of days of open hand" (whence the album's title). This expression implies that her days are spent in opening her hand, a gesture of both generosity and acceptance, as well as honesty.
Further, we see that the book is considered important, as the pages are numbered in "silver." This could also be a reference to money; this book also has elements of a ledger of accounts.
Yet, the book is also mundane, as the highlights are not done in gold or diamonds, say, but in ho-hum "magic marker"-- which sounds "magical" but which everyone knows is not.
We have been working, to this point, under the assumption that the book is a record of her dreams. Yet, we now she she uses it to "take the name of every prisoner." This is a somewhat shocking revelation! Does she really feel that those who have relationships with her are trapped by her, captured and kept, with no freedom to leave? Or is it that this idea applies to those in her dreams?
Perhaps he is not the victim... but she is. She may want to let people, thoughts, images, go-- but cannot. They are trapped in her memory, and they stalk the prison yards and dungeon passages of her dreams. Therefore, their names are in her book.
She promises that "yours is there," meaning the name of whomever is being addressed. He hopes that he is trapped only in her memory and subconscious, not her clutches...
The first verse was about active dreaming. She says she "stole [his] urgent whisper," and then proceeds to ignore it, and the pity that came with it. Instead, she actively turns the tide and heals the hole in her life. Then she describes her dream journal as being strong as well, and both special and approachable.
She concludes by telling the listener-- the ones that whispered pity before-- that he is part of her dreams, even though she rejected his sympathy. She still recalls the fact of it, and seems to even use it as a pushing-off point. Her rejection of the pity is part of what drives her to heal herself.
She doesn't thank him for this. But she doesn't forget him, either.
Next Song: Institution Green
Monday, June 29, 2015
Tired of Sleeping
This seems to be a song about illness, told from the point of view of the ailing one.
If the idea of "sleeping" is literal, then this person has intense lethargy, such as with chronic fatigue syndrome, or is perhaps in an actual coma. If it is metaphoric, it can be seen as a state of severe depression, in the psychological, clinical sense.
In either case, the person is aware that she is sick and longs for her wakeful energy to return: "I'm tired of sleeping."
Why? She is not having nightmares, at least not insufferable ones: "The dreams are not so bad." Rather, she feels guilty as her lack of productivity, as if she is aware that others are doing everything for her she is usually capable of doing herself: "There's so much to do."
One of the people, perhaps the main person, caring for her is her mother. It is bad enough to have some paid nurse or orderly checking up on you. But to have your own mother continue to have to mother you as adult is heartbreaking.
Next, she becomes aware of an "old man." She realizes that he is trying to communicate with her. However, she "just can't hear what he's saying," either because he is speaking too quietly, or-- since she feels she just can't hear him-- that the fault is her illness'.
Who is he? Her doctor? A priest? We meet him again later for more clues.
First, we switch from an old man to "kids." They are "playing in pennies," that is, gambling with pennies as the stakes. They seem to have plenty to play with, as they are "up to their knees in money."
But they are also up to their knees in "dirt," perhaps the speaker's opinion of what money is worth. "All your money won't another minute buy," sings the rock group Kansas in "Dust in the Wind." So someone near death might see this quest for money as useful as a quest for dirt.
Now, where is this dirt? At the "churchyard steps." This brings religion into the mix. Combined with the pennies, these images together recall the imagery of moneychangers outside the Temple. And we all know how Jesus felt about that.
Further, the kids are at the "steps" of the church, or more at the steps of the "yard" before the "church." Near enough physically to see it. But while gambling, spiritually distant indeed. For the sake of pennies, they forgo the desire to enter the church and find true "riches."
Now, we return to the man. He "ripped out his lining." We are not sure yet why he would do so, but at this point we assume that she means the lining of a coat or suit jacket.
No. He somehow ripped out the lining of his "body"! Yes, "He tore out a piece of his body." Dare we ask which piece? He wanted to show "us"-- the speaker and her mother-- his "clean quilted heart."
This is quite graphic. And also quite impossible. Aside from the anatomical issues, hearts are made of muscle and are not "quilted." We are left to believe this is an hallucination or dream image.
But of what? The most common image of a person holding his own heart is Jesus, with his hands holding the Sacred Heart.
On the other hand... Jesus was not "old." He was only 33 at the time of his death. So this could be a conflation of Jesus and the Father...?
If the old man is a doctor, perhaps she sees him open his lab coat and show her the donor heart she is to receive, but in her illness-addled state, she sees the images she describes.
What is clear is that the image is a subconscious-based one, a dream image or hallucination. Her condition is medical, so it makes sense that her subconscious is showing her anatomical imagery.
The last image is of a "bird" that has been snared. It is "on" a string, but has not landed to perch there, as if on a branch or telephone wire. Rather, it is "hanging" from it. Further, she cannot leave the string, as she would of course be able to if she has simply lighted there. No, she is "twisting," "dancing," and "fighting" to be loose. She knows that "her small life" depends on her breaking free.
This is an apt metaphor for someone in a coma or other such state. The person-- the consciousness that is a person, the self-- is confined in the uncooperative body, like a trapped animal.
She wants to hear what the old man is saying. She wants to do things for herself, and have her mother stop tending her. She is spending all her psychic energy to re-enter the world of interaction and communication, but she is emotionally exhausted. She just wants to be well already!
The lyrics offer no resolution, and leave us with the frustrated invalid. But the music, which repeats the chorus several times, ends with an upward modulation. The entire time, the song has been sung in a low register. The final time, the melody line is noticeably higher, with a shade of echo.
This may be the singer's way of indicating that the soul has left the body and it, at least, is free.
IMPACT:
The song is the first on the album Days of Open Hand. Which won a Grammy. For Best Album Package.
Well, better than nothing.
Next Song: Men in a War
If the idea of "sleeping" is literal, then this person has intense lethargy, such as with chronic fatigue syndrome, or is perhaps in an actual coma. If it is metaphoric, it can be seen as a state of severe depression, in the psychological, clinical sense.
In either case, the person is aware that she is sick and longs for her wakeful energy to return: "I'm tired of sleeping."
Why? She is not having nightmares, at least not insufferable ones: "The dreams are not so bad." Rather, she feels guilty as her lack of productivity, as if she is aware that others are doing everything for her she is usually capable of doing herself: "There's so much to do."
One of the people, perhaps the main person, caring for her is her mother. It is bad enough to have some paid nurse or orderly checking up on you. But to have your own mother continue to have to mother you as adult is heartbreaking.
Next, she becomes aware of an "old man." She realizes that he is trying to communicate with her. However, she "just can't hear what he's saying," either because he is speaking too quietly, or-- since she feels she just can't hear him-- that the fault is her illness'.
Who is he? Her doctor? A priest? We meet him again later for more clues.
First, we switch from an old man to "kids." They are "playing in pennies," that is, gambling with pennies as the stakes. They seem to have plenty to play with, as they are "up to their knees in money."
But they are also up to their knees in "dirt," perhaps the speaker's opinion of what money is worth. "All your money won't another minute buy," sings the rock group Kansas in "Dust in the Wind." So someone near death might see this quest for money as useful as a quest for dirt.
Now, where is this dirt? At the "churchyard steps." This brings religion into the mix. Combined with the pennies, these images together recall the imagery of moneychangers outside the Temple. And we all know how Jesus felt about that.
Further, the kids are at the "steps" of the church, or more at the steps of the "yard" before the "church." Near enough physically to see it. But while gambling, spiritually distant indeed. For the sake of pennies, they forgo the desire to enter the church and find true "riches."
Now, we return to the man. He "ripped out his lining." We are not sure yet why he would do so, but at this point we assume that she means the lining of a coat or suit jacket.
No. He somehow ripped out the lining of his "body"! Yes, "He tore out a piece of his body." Dare we ask which piece? He wanted to show "us"-- the speaker and her mother-- his "clean quilted heart."
This is quite graphic. And also quite impossible. Aside from the anatomical issues, hearts are made of muscle and are not "quilted." We are left to believe this is an hallucination or dream image.
But of what? The most common image of a person holding his own heart is Jesus, with his hands holding the Sacred Heart.
On the other hand... Jesus was not "old." He was only 33 at the time of his death. So this could be a conflation of Jesus and the Father...?
If the old man is a doctor, perhaps she sees him open his lab coat and show her the donor heart she is to receive, but in her illness-addled state, she sees the images she describes.
What is clear is that the image is a subconscious-based one, a dream image or hallucination. Her condition is medical, so it makes sense that her subconscious is showing her anatomical imagery.
The last image is of a "bird" that has been snared. It is "on" a string, but has not landed to perch there, as if on a branch or telephone wire. Rather, it is "hanging" from it. Further, she cannot leave the string, as she would of course be able to if she has simply lighted there. No, she is "twisting," "dancing," and "fighting" to be loose. She knows that "her small life" depends on her breaking free.
This is an apt metaphor for someone in a coma or other such state. The person-- the consciousness that is a person, the self-- is confined in the uncooperative body, like a trapped animal.
She wants to hear what the old man is saying. She wants to do things for herself, and have her mother stop tending her. She is spending all her psychic energy to re-enter the world of interaction and communication, but she is emotionally exhausted. She just wants to be well already!
The lyrics offer no resolution, and leave us with the frustrated invalid. But the music, which repeats the chorus several times, ends with an upward modulation. The entire time, the song has been sung in a low register. The final time, the melody line is noticeably higher, with a shade of echo.
This may be the singer's way of indicating that the soul has left the body and it, at least, is free.
IMPACT:
The song is the first on the album Days of Open Hand. Which won a Grammy. For Best Album Package.
Well, better than nothing.
Next Song: Men in a War
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