Lyssna mellan raderna


Undoubtedly the King James has been enhanced for us by the music that now curls round it. “For unto us a child is born” (Isaiah 9: 6) can’t now be read without Handel’s tripping chorus, or “Man that is born of a woman” without Purcell’s yearning melancholy (“He cometh forth like a flower, and is cut down” Job 14: 2). Even “To every thing there is a season”, from Ecclesiastes (3: 1), is now overlaid with the nasal, gently stoned tones of the Byrds. Yet the King James also lured these musicians in the beginning, snaring them with stray lines that were already singing. “Stay me with flagons, comfort me with apples, for I am sick of love” (Song of Solomon 2: 5). “Thou hast heard me from the horns of the unicorns” (Psalms 22: 21). “The heavens declare the glory of God; and the firmament sheweth his handywork” (Psalms 19: 1). “I am a brother to dragons, and a companion to owls” (Job 30: 29). Or this, also from the Book of Job, possibly the most beautiful of all the Bible’s books—a passage that flows from one astonishingly random and sudden question, “Hast thou entered into the treasures of the snow?” (Job 38:22):

Hath the rain a father? Or who hath begotten the drops of
Out of whose womb came the ice? And the hoary frost of
heaven, who hath gendered it?
The waters are hid as with a stone, and the face of the deep
is frozen.
Canst thou bind the sweet influences of Plaeiades, or loose
the bands of Orion?  (Job 38:28-31)

The beauty of this is inherent, deep in the original mind and eye that formed it. But again, the translators have made choices here: “hid” rather than “hidden”, “gendered” rather than “engendered”, all for the very best rhythmic reasons.  We can trust them; we know that they would certainly have employed “hidden” and “engendered” if the music called for it. Unfailingly, their ear is sure. And if we suspect that rhythm sometimes matters more than meaning, that is fine too: it leaves space for the sacred and numinous, that which cannot be grasped, that which lies beyond all words, to move within the lines.

“In The Beginning There Was Sound” av Ann Wroe i Intelligent Life.

Oavsett tro eller övertygelser. En alldeles fantastisk skildring av ordet som ljud, som musik, som rytm, såväl som innebörd. En hyllning till det talade språket, till litteratur i alla dess dimensioner och uppenbarelser.

Lisa Ehlin

Grattis Janet


Det blev ganska intressant att gå tillbaka till några av dina spår post dubstep. “I get so lonely” låter plötsligt marinerad i James Blake. Fast tvärtom då. Precis som med Girl Unit är det återigen ett tecken på vilket fint äktenskap r&b och dubstep är.

Frågade How To Dress Well på Twitter alldeles nyss, han tyckte spontant att de här Janetbitarna är bra:

Och så förstås:

Lisa Ehlin

Del två* av vet ej hur många i serien “Joni Mitchell-covers att (valfritt) till”

Tears and fears and feeling proud to say “I love you” right out loud,
Dreams and schemes and circus crowds, I’ve looked at life that way
But now old friends are acting strange, they shake their heads, they say
I’ve changed
Something’s lost but something’s gained in living every day

I’ve looked at life from both sides now,
From win and lose, and still somehow
It’s life’s illusions I recall
I really don’t know life at all

Dave Van Ronk, “Both sides now”


(*Del ett)

Jon Appelvik Lax
Jon Appelvik Lax