‘1968’ describes the aftermath of a raucous Hollywood party. Seidel works into this context a broader critique of sociopolitical realities.
While the mansion is called a “Paradise”, the appellation is, without a doubt, heavily sarcastic, and when one looks carefully at the stanza in question, one finds elements one would more readily associate with hell – the subtropical clamminess, the foggy vision, and of course the faceless victims of murder. Indeed the belief one is in paradise, which some of the participants in the part presumably share, may be part of the setting’s hellish quality.
A football spirals through the oyster glow
Of dawn dope and fog in L.A.’s
Bel Air, punted perfectly. The foot
That punted it is absolutely stoned.