Abstract
In 1997's Invisible Republic , Greil Marcus coined phrase the old, weird America to designate that opens up out (Marcus 1997, 89) Harry Smith's six-LP Anthology of American Folk Music , which he elsewhere describes as Bob Dylans first true map of republic that still hunch to him and a backdrop to basement (88), archive of over hundred Americana-style songs Dylan recorded with lhe Band in summer of 1967. In describing Anthology , Marcus works hard to try to generate sense of uncanny and of paradox. More deeply, he immediately adds, 1952 anthology version of [the tapes], and basement tapes shambling, twilight version of Smith's Anthology , which itself anything but obvious (88). What speaks and spooks here, shambling through twilight, is no mere territory or map, but ghosts, and apparently foreign ones: basement tapes constitute palavers with community of ghosts, . . . specters from foreign country (86). The anthology itself, as Marcus quotes Bruce Connor, was like field recordings, from Amazon,
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