In this chapter I read in tandem “I Pity the Poor Immigrant” and “All Along the Watchtower.” The former is read not as a genuine extension of pity or sympathy toward the titular immigrant. Rather, I read this song as revealing more about the singer/narrator’s ideological position. Pity is understood in this chapter as a distancing emotion, one that I link to the Johnson administration’s limited response to the urban uprisings of the summer of 1967. The immigrant’s supposed perfidy as accounted by the singer/narrator draws on antisemitic tropes, which furthers Dylan’s excavations of the lineaments of community in America. An extended consideration of the key term “confusion” uttered by the Joker threads together historical and literary contexts that determine my reading of “All Along the Watchtower.” The recursive structure of this song is analyzed as an instance wherein Dylan foregrounds not only the intertextual nature of his writing on the album, but the intertextual nature of language itself. Language, in this sense, becomes a site of disjuncture and confrontation between the past and a future which is always already to come. The ominous tone of this song registers the unique historical fractures to which the album as whole tends.