<<<Back to page 3

“When power corrupts, poetry cleanses”

Although “Deadwood” is about receiving the news of a killing, rather than about the killing itself, it provides a venue similar to a traditional murder ballad for processing negative emotions, and “confessing” or telling “helpful lies” to ourselves about difficult things. At face value, the song confronts us with the seemingly off-key rejoicing at someone’s death, and invites us to consider how we may have responded.

Just as the murder ballad may sometimes serve as a “proxy confessional” for some, allowing the tale of things we didn’t do help us come to grips with things we did, so “Deadwood” also represents a venue for evaluating ourselves and our lives relative to the particular historical transaction between Native Americans and the mainstream American culture. We may further explore through it the ways which we may distance ourselves from communities whose suffering and loss may have accrued to our benefit, and still does. As “Deadwood’s” chorus depicts the saloon patrons claiming their fortunes as blessings from God, rather than the product of heartless, myopic plunder, the song provides space to judge ourselves, individually or corporately, along similar lines.

All three of these songs represent the anxieties and remorse attached to inhabiting a majority culture purchased at the price of others’ suffering and loss. They are not protest songs, and they are not going to fix things in any broad world-historical sense, but they are going to provide us with a way of coming to terms with the world and will dispose us to see it differently. They reconcile us, as Alexander puts it. As my twelve year old daughter put it, “you can’t fix the past, but you at least hope that the song helps make sure these things never happen again.” I’m not sure these sorts of songs are that powerful, but let’s hope she’s right to some extent.

President John F. Kennedy at Amherst College, October, 1963 (photo from Amherst College)

I heard just yesterday a quote from President John F. Kennedy from a 1963 speech at Amherst College, which provides an apt bookend to Alexander’s perspective. The point has particular salience coming from Kennedy, capturing poetry’s value particularly in the American national context:

“Our national strength matters, but the spirit which informs and controls our strength matters just as much. This was the special significance of Robert Frost. He brought an unsparing instinct for reality to bear on the platitudes and pieties of society. His sense of the human tragedy fortified him against self-deception and easy consolation. ‘I have been’ he wrote, ‘one acquainted with the night.’ And because he knew the midnight as well as the high noon, because he understood the ordeal as well as the triumph of the human spirit, he gave his age strength with which to overcome despair. At bottom, he held a deep faith in the spirit of man, and it is hardly an accident that Robert Frost coupled poetry and power, for he saw poetry as the means of saving power from itself. When power leads men towards arrogance, poetry reminds him of his limitations. When power narrows the areas of man’s concern, poetry reminds him of the richness and diversity of his existence. When power corrupts, poetry cleanses. For art establishes the basic human truth which must serve as the touchstone of our judgment.” (Audio on YouTube here.)

Musical matters and acknowledgments

Finally, here is a short Spotify playlist of today’s songs, with some performances not linked above. Highlights include Robert Emmet Dunlap’s performance of “Mick Ryan’s Lament,” as well as a standout duet performance of the same by Tim O’Brien and Darrell Scott. The list also includes Eric Taylor’s original album recording of “Deadwood,” Thanks for reading, and thanks to Pat and Shaleane for helpful feedback, and to Mark and Matt for their help.