Manage episode 216136395 series 1254967
I spent Saturday riding my bicycle on the Mesabi Trail and visiting Hibbing, the Minnesota Iron Range hometown where Bob Dylan grew up non-ferrous.
To the visitor, the landscape there has a strangeness. Since the late 19th Century, open pit iron mining has been the industry of the region. An open pit mine is not the kind of underground tunneling and mole-dark pick-axe work you might visualize when you hear the noun “mine.” Instead it is the removal of cubic miles of earth with explosives and huge shovels, work my wife describes as “making your own Grand Canyon.” The iron gives exposed rock and dirt a Martian red hue, and this colossal earthwork of generations of open pit mines has added extra hills, ridges, gorges, and small lakes. Though trees and brush eventually regrow and give these acts of men something of the appearance of nature, some hills retain the terraces where the trucks moved—giant Northern ziggurats or Mayan temples, now sprouted with pines—the Hanging Gardens of Bob Dylan.
Since Bob Dylan grew up here, the strangeness of this landscape may not have impressed him in his youth, but an adulthood away from there might have eventually revealed its uniqueness. It is a singular place on a Labor Day weekend where one can see the mark of daily labor sculpted in a giant tableau.
How many of us can say the same for our labors? Children are raised, daily cares are met, that meeting makes a decision, a sick person is comforted and will live another couple of decades, the number of widgets on the planet increases infinitesimally, a project that will impact things for a few years is completed. In contrast, in the land around Hibbing, Virginia, and Mountain Iron, vistas are forever altered to mark a work life.
An artist’s work, for all the literary pretentions to immortality, is at least as ephemeral as other work. The work is finished, and the earth has not changed its face. The work is read, seen, heard by its handful, and it melds at best into a memory in some part of those.
So, punch a clock or not, these are the same jobs, the same work. The poem, the performance, the painting, no less, no more, the product effort of applied human energy as any other work.
Occasionally, someone gets to be a Bob Dylan, and the vistas change. Leonard Cohen said that giving Bob Dylan a Nobel Prize is like pinning a medal on Mount Everest for being the highest mountain. I stood next to my bike on the state’s highest bridge spanning a man-made gorge. Maybe somehow, subconsciously, that gave Bob the idea.
Today’s audio piece will not remind you of the Bard of Hibbing, as it is a fuzzy epitaph using Mellotron instead of giant earth-moving trucks to get its rocks off me. Here’s wishing all Parlando Project listeners a lanquid fall into the fluffiest snowbank.
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