On Paul Simon’s new album, his “soft, neighborly voice has yet to be shredded by age or hard living, and its sustained tenderness makes me feel as though everything is going to be O.K.,” amandapetrusich writes.
On January 15, 2019, Paul Simon dreamed that he was working on a piece called “Seven Psalms.” He got out of bed and scribbled the phrase—alliterative, ancient-feeling—into a spiral notebook. From then on, Simon periodically woke between 3:30 and 5. to jot down bits of language. Songwriters often speak about their work as a kind of channelling—the job is to be a steady antenna, prepared to receive strange signals. Some messages are more urgent than others.
Outside religious spaces, posing the big questions—how we arrived here; what we’re supposed to do with the time we’ve been allotted—is generally considered the terrain of undergraduate philosophy majors and people who have gravely misjudged their tolerance for edibles. Western culture has tidied and sanitized the moments that truly force the inquiry. In the delivery room, a mother might only be granted a dazed hour to cradle her newborn before everyone is cleaned up and wheeled off.
Simon has always been a seeker. In 1968, Simon & Garfunkel released “America,” a haunting song about being young, bewildered, and hungry:“I’m empty and aching and I don’t know why” Even “Graceland” expresses a deep interest in, well, grace. The estate is protected by a white pearly gate; Elvis Presley and several of his family members are buried in a small cemetery adjacent to the mansion; fans send ephemera to decorate the graves. Simon sings of being pulled there by some preternatural force: “For reasons I cannot explain / There’s some part of me wants to see Graceland.
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