This chapter deploys Jullia Kristeva’s theory of abjection in two distinct registers: the psychological and the social. I read “As I Went Out One Morning” as fixed on the singer’s confrontation with a figure of abjection (the damsel in chains). In this song, we can perceive that Kristeva’s theory of the disruptive and illuminating confrontation with the figure of abjection pertains. We see how the psychology of the narrator/singer is founded on a casting out of the abject figure, which illuminates for a listener how this process is foundational to the development of the singular subject. In “I Dreamed I Saw St. Augustine,” we find that the singer/narrator/dreamer offers a terrible vision of how the putative homogeneity of a community—on a broader level—exists on the exile or abjection of the other. These two songs are shown to reflect the state of mind of Americans during the fraught summer of 1967 and to dissect and subvert the processes where a “return to” a core notion of Americanness rests on the social functioning of abjection. In making these connections, I argue that the songs on this album elicit certain reading strategies from the listener only to ultimately subvert them.