Monday, September 3, 2012

Art Garfunkel Wrestles with Plato?

Garfunkel Defends His Art

In the Apology, Plato has Socrates offer the following dim report of his encounter with the poets:

"I am almost ashamed to speak of this, but still I must say that there is hardly a person present who would not have talked better about their poetry than they did themselves. That showed me in an instant that not by wisdom do poets write poetry, but by a sort of genius and inspiration; they are like diviners or soothsayers who also say many fine things, but do not understand the meaning of them."

This brief interview (see link above) with Art Garfunkel presents a nice challenge to the suggestion that artists are unlikely to comprehend--let alone articulate--the meaning of their art. Of course, Simon was arguably the poet behind Garfunkel's most famous work. But it hardly makes Garfunkel's insights less impressive to note that he was the voice, not the wordsmith.

Part of what is nice about the interview is that it belongs to a genre we are seeing more of these days: the reconciliation story of parties to a once-acrimonious musical divorce, who have gained the maturity that sometimes comes with age. But beyond this sentimental comfort, we find some genuinely reflective insights.

Consider, for instance, Garfunkel's description of the power of collaborative friendship:

"How about the very mentality of Paul Simon? This is a very interesting Paul Simon with a mind that can reach into the future, and I am a spiritual partner. When you sing with a partner and he has a very pleasing sound, and he's your friend and you laugh a lot, you soon start making music with the heads very close to each other, the noses almost touching. And you study the diction, and you create over your two heads a little bubble of reality and sound. When I work with Paul, I go into that dome, that invisible, small circumference dome. And when you visit that place, it's apart from life on Earth, it's its own very pleasing soundscape."

One might have to go back to Montaigne to find a better description of the way that friendship, through intense intimacy that might appear small, can actually offer a magnanimous gift to the world.

In another link with Plato--here, the Plato of the Symposium--we find the suggestion that there is some relationship between eros (broadly understood), friendship, and beautiful productions: recording by oneself is not the same. "You miss the electricity that lights up the recording session and makes it all fun and games and makes the night go on for many extra hours because partnership is juicy."

Or how about this description of singing itself?

"To me, the act of singing is an expression of love. You form it in the vocal cords. When you love your song and you lose yourself into the song . . .  it's very tough to analyze the act of singing."

Here we have intensely personal love giving rise to that unique overcoming of the person as self-consciousness: the song expresses the love, and the love allows oneself to let go of the self. And there is even a Socratic recognition that the topic is difficult to understand--worthy of contemplation, but resisting analysis.

But what struck me most about this conversation was Garfunkel's unabashed ambition for excellence--and for recognition of his excellence. He is not satisfied with being known as "the guy with the silver voice." He wants to be "a virtuoso singer," and to be seen as a virtuoso singer. And he wants people to remember that they were good--the "real thing"--that they "recorded as if a record was an important thing," a thing that, when done well, was a masterpiece. He wants, he says, "to be in that world of a real artist."

Perhaps this is also a challenge to a Platonic thought. One can glean from some of Plato's dialogues that, while one ought to strive for excellence, one should scorn the opinion of the masses who presume themselves to be good judges. This thought offers something important and useful. But how are we to inspire a generation to fight and claw for greatness, if we are ashamed to say that we want to be great ourselves? Garfunkel does not seem to desire recognition for the sake of the goodies it brings--fame, money, etc. He seems to desire it as a kind of assurance that he has achieved some of what he strives for. And that, I think, is an innocent and admirable desire.

1 comment:

  1. I do wonder what it would be like to be Art Garfunkel. The man has existed for so many years in the shadow of Paul Simon, who (so far as I know) wrote virtually all of the songs. Yet the songs really wouldn't be what they are with AG—his contribution is absolutely indispensable. I mean, listen to a Paul Simon solo album. While none of them are bad, they just don't have the magic that S&G together did. This is partly because Garfunkel's bell-clear tenor adds something so beautiful and so transcendent to the songs--just listen to "For Emily (Wherever I Find Her)"--I'm about to put this on, to remind myself. But I suspect it's also because AG's presence brought out something in PS that cannot have been unearthed by any other means. Collaboration is a mysterious process -- PS must have known that AG contributed something that no one else could have. For this, AG should be celebrated.

Anyway, I run on. Thanks for posting the link to the interview, and for this entry.