The most honest way to look at Dylan is the way his young fans do. They admire him, but they don't adore him. And they understand that his career over four decades has had dramatic ebbs and flows. Between 1975 and 1987 he produced some memorable songs along with many otiose ballads and those hymns aptly described by Alex Ross as "snarling gospel." The best you can say about these experiments is that they were sincere. But they suffered from the enervation that comes of disengagement.
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Letters
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The Tao of Borat
Richard Goldstein: What are we laughing at when we laugh at Borat?
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Death Trip
Richard Goldstein: Philip Roth and Joan Didion have each written compellingly about death, but their insights about dying and mourning signify a retreat from the world rather than an embrace of the forces by which we all live and die.
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Satellite Dylan
Richard Goldstein: As a satellite radio DJ, Bob Dylan is reaching a new generation of fans, who admire his music but, unlike earlier admirers, do not see him as a prophet.
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The Erotics of Resistance
Richard Goldstein: With spring come glimmerings of new social attitudes: The popularity of V for Vendetta proves films with a social conscience resonate; Kanye West's challenge to rap homophobia shows gangsta style is not the only option.
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Of Queers and Kong
Gay & Lesbian Issues & Activism
Richard Goldstein: From Brokeback Mountain's closeted cowboys to King Kong's embrace of Anne Darrow, Hollywood has queered cherished icons of masculinity. But the two films paint a bleak picture: Love that falls outside the norm must struggle to be something more than self-destructive.
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President Thelma
Richard Goldstein: Is Commander-in-Chief softening up the country for President Hillary? Americans may not not be ready to put a woman in the White House, but they may have calmed down enough to contemplate the pleasures of female power.
Now a new generation has discovered Dylan, but not for his late style. They flock to his concerts to hear the early songs, those still-gripping sagas of alienation and outrage written when Dylan was lost in the wilderness, and they come to hear how Dylan will sing those songs today, since he always performs them differently. They know Dylan as he should be known--as a striving, fallible artist, not a saint.
I've learned not to overestimate the dude. That sandpaper voice still stirs the passions of my past, even when it's singing of a present that would stifle me. But I don't believe in Dylan. His words are not the Word. And I come not to worship him but to complicate him.
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