Blowin' in His Own Wind
It's easy to see how this fly-on-the-wall approach could devolve easily into name- and eavesdropping--a pitfall Hajdu generally avoids. He evokes the aura of the relationship between Dylan and Rotolo by noting that by the spring of 1962 they'd known each other for six months; he tested his songs on her and played Elvis records for her, while she lent him books of poetry--they read Byron and Rimbaud together--and took him to CORE meetings. "He knew about Woody and Pete Seeger," says Rotolo, "but I was working for CORE and went on youth marches for civil rights, and all that was new to him. It was in the air, but it was new to him."
So, although characters and narrative strands multiply as they weave in and out, Positively 4th Street usually avoids feeling cluttered or confused. And the pacing, spurred by the frisson of eyewitness memories, insider gossip and the rush of circumstance, carries you over its rough spots until things skid abruptly to a finish in 1966. That April, after a publication party for his seminal book Been Down So Long It Looks Like Up to Me, Fariña died in a motorcycle crash. Three months later, Dylan had his own motorcycle crash, which pulled him out of the public eye for three years. Hajdu writes, "Precisely what happened to Bob Dylan on July 29 is impossible to reconstruct with authority."
Until now, that was true. But in Down the Highway: The Life of Bob Dylan, Howard Sounes in fact pieces together testimony and circumstantial evidence into a fairly detailed account of Dylan's wreck. (He relies heavily on Sally Grossman, the late Albert's wife.) It's the kind of thing Sounes does well, opening new angles on the enigmatic polyhedron that is Dylan. An indefatigable reporter, Sounes has collected most of the folks in the Dylan orbit and brought into print several, including Dylan family members, who haven't been there before. He has unearthed more detail about Dylan's marriages and divorces and children and lovers and homes, his harassing fans and his tour receipts, even his desperate late 1980s offer to join the Grateful Dead as his popularity ebbed. He has combed the earlier sources and extracted their meat. Exhaustive is the right adjective.
As Sounes sees it, Dylan lives in introverted, near-constant turbulence, buffeted by internal as well as external winds and by his own creativity, which produces constant alienation. We watch obsessive fans stake out his houses, hassle his women and kids, ransack his garbage. We learn more of the grimy legal battles (suit and countersuit) between Dylan and Grossman, who for several years, at least, earned much more from Dylan than Dylan did.
Dylan did know lots of women, and they parade dizzyingly by: sincere Minnesota folkie madonnas, Village political sophisticates like Suze Rotolo, Baez, Suze again, his first wife Sara, Baez again, back to Sara, various side trips, a string of black backup singers like Clydie King and Carolyn Dennis, who, Sounes reveals, had Dylan's child and secretly married him. So do his musical cohorts from over the decades, who retail variations of the same tale: Little contact, little to no rehearsal, vague if any instruction. Even members of The Hawks, later known as The Band, arguably Dylan's closest creative associates in the late 1960s, shed little light on the man and his muse. It's not surprising, then, that in discussing Dylan's visual artwork collected in Drawn Blank, Sounes writes, "Mostly Bob seemed to be alone in empty rooms. He often drew the view from his balcony, a view of empty streets, parking lots, and bleak city skylines."
That's as close as Sounes gets to piercing Dylan's veil. Even in this monumental bio, just as in Hajdu's book, the star of the show flickers like a strobed image through the crosscut glimpses of his intimates. The facts and tales pile up; the figure behind the screen seems to come into clearer focus but never quite emerges. Still, his complexity is elucidated--which may be the best anyone, including Dylan himself, can do.
Sounes's book has its drawbacks. Its workmanlike prose lurches periodically into fanzine or tabloid rambles by the author or his witnesses. (Why open with what reads like a magazine story about the party that followed Dylan's "Thirtieth Anniversary Concert"? Why ask Jakob Dylan, now a pop star in his own right, if he thinks he'll measure up to his dad?) It gropes for the "inner" Dylan and sometimes comes up silly. (It's not at all clear Dylan has "conservative" beliefs, as Sounes asserts, aside from desperately wanting privacy for himself and his families. It does seem that he, like most folks, has a floating mishmash of an ad hoc personal code.) With all those facts pressing on him, Sounes can also warp chronology in a confusing fashion. (Why, when first introducing Dylan's manager Grossman, dwell in such detail on the court battles that broke out between them seven years later?) But the bulky research and reporting make up for relatively minor lapses in style and sensibility.
Inevitably there are spots when Sounes and Hajdu overlap and disagree about what happened. Take Newport 1965. Sounes retails the traditional story of how outraged fans, shocked at Dylan's betrayal of acoustic music and, by implication, folkie principles, booed Dylan's electric set. Early on, Pete Seeger and Dylan himself helped promote the tale. Hajdu suggests, via other witnesses, that people were screaming about the crummy sound system, and he wonders, as others have, how 15,000 fans could have been shocked by an electric Dylan set after hearing "Like a Rolling Stone" on the radio that summer. Look at it this way: The doughnut is being filled in, but the hole in the middle remains. Dylan's lifelong attempts to fog his personal life may have been rolled back more than ever, but blurry patches still linger, subject to interpretation and debate, just as they always will with the decade of which he--for better or worse, rightly or wrongly--is still an emblem.