Bob Dylan's ways with words are a wonder, matched as they are with
his music and verified by those voices of his. In response to the
whole range of Dylan early and late (his songs of social
conscience, of earthly love, of divine love, and of contemplation),
this critical appreciation listens to Dylan's attentive genius,
alive in the very words and their rewards.
"Fools they made a mock of sin." Dylan's is an art in which sins
are laid bare (and resisted), virtues are valued (and manifested),
and the graces brought home. The seven deadly sins, the four
cardinal virtues (harder to remember?), and the three heavenly
graces: these make up everybody's world -- but Dylan's in
particular. Or rather, his worlds, since human dealings of every
kind are his for the artistic seizing. Pride is anatomized in "Like
a Rolling Stone," Envy in "Positively 4th Street," Anger in "Only a
Pawn in Their Game" ... But, hearteningly, Justice reclaims "Hattie
Carroll," Fortitude "Blowin' in the Wind," Faith "Precious Angel,"
Hope "Forever Young," and Charity "Watered-Down Love."
In The "New Yorker, Alex Ross wrote that "Ricks's writing on
Dylan is the best there is. Unlike most rock critics --
'forty-year-olds talking to ten-year-olds, ' Dylan has called them
-- he writes for adults." In the "Times (London), Bryan Appleyard
maintained that "Ricks, one of the most distinguished literary
critics of our time, is almost the only writer to have applied
serious literary intelligence to Dylan ..."
Dylan's countless listeners (and even the artist himself, who
knows?) may agree with W.H. Auden that Ricks "is exactly the kind
of critic every poet dreams of finding."
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