I thought this dream was about the passing of time: you can’t go home again, as everything has changed. Elaine thinks I’m already dreaming about deportations.
I was in a committee meeting with co-workers, all of us sitting at a conference table in a large otherwise vacant room. The subject under discussion was a letter from the FCC about the aroma of our new movie, which had been deemed unsatisfactory. We were looking at clips from older black-and-white movies to figure out an appropriate aroma.
I opened my laptop and a message in the center of the screen began reading itself aloud: “Hello, Michael. Mr. Eisenhower” — or was it Adenauer? — “has been waiting patiently for you. He is interested not in injecting the incredible but in removing it.”
I was teaching a poetry class and getting ready for our first meeting after a break, when it’s always a challenge to get back to the realities of a semester. I realized that I had forgotten to bring the two poems we were going to talk about, Samuel Taylor Coleridge’s “Frost at Midnight” and Robert Frost’s “Stopping by Woods on a Snowy Evening.” I printed out a copy of each poem in my office and went off to teach.
Dylan was playing an astonishingly good accompaniment, with all sorts of complex substitute chords. I was, as I said to myself, “agape and aghast” and began recording on my phone.
At some point during this service I noticed an illustration on my guitar that I’d never noticed before, down by the tailpiece: a cityscape of tall buildings with stylized windows — something that you might see in a Nancy cityscape.
“You know how in The Wire, Walter White shaves his head and wears a black hat and calls himself Heisenberg? Wait — was that The Wire, or Breaking Bad ?”
Night. We were standing in front of a Woolworth’s. We hadn’t been inside one for years. A month’s page from a calendar hung from a string in front of the store. It looked just like a month from my homemade calendars.
I was showing my friend Rob Zseleczky a beautiful set of chord changes: the chorus of “California Girls.” It’s a simple pattern up and down the neck of the guitar. I like the first chord for each vocal line as a major seventh. It’s not that way in the original. I don’t care.