The first three cuts on my first Joan Baez album (acquired in ’62 or ’63) were classic folksongs – “Silver Daggers,” “East Virginia,” and “Fare Thee Well.” Along with a few others, like “Wildwood Flower,” they exhibit a very moving quality that comes not so much from directed words (as in “calf with a mournful eye”) but from a sum that arises outside of the text.

The lyrics themselves are dry, compressed. The songs are best sung emotionally flat, with a childlike beauty and comprehension (or lack of it). Above all, there is a kind of detachment that makes the whole thing even more touching or eternal.

From Maynard Solomon’s album liner notes: “A remarkably compressed love story. … In its four short verses loom enough tragic characters to populate an 18^th century novel … the haunting and mysterious opening verse, with its claim of historical authenticity and its foreboding of personal bereavement. … Perhaps its beauty comes from its biblical connotations, for the imagery of the closing verses is related to New Testament descriptions of the Last Judgment, and the song ends with a quotation from Mark (XII,20) – ‘Till all these things be done.’ … The seemingly obscure and disconnected text is emotionally fused. … Like many another favorite from North Carolina and its neighboring states, [it] has the strange quality of rejoicing as it laments, exulting as it weeps …”

I did not yet know my family roots in North Carolina, but I have taken this, internalized, as an ideal in my own writing that has followed, not that what’s followed has manifested that way over the years. Think, too, of how her material changed.