Bob Dylan in America

The Old, Millennial America: Bob Dylan and the Traditions

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For his most fervent fans — I am one — Dylan is American history. This is not just fan babble. Most famously, he was…. Get The International Pack for free for your first 30 days for unlimited Smartphone and Tablet access. Already a member? Log in. Already a subscriber or registered access user? Subscription Notification. We have noticed that there is an issue with your subscription billing details. Please update your billing details here. Please update your billing information. The subscription details associated with this account need to be updated.

Book review: ‘Bob Dylan in America’ by Sean Wilentz

Please update your billing details here to continue enjoying your subscription. Your subscription will end shortly. My own connection wasn't so much the very recent stuff, but it was this moment in the early, mids, when my dad was dying—that was a story there that was very powerful. And then a concert I went to in when I reconnected with the music live. It was an incremental thing, a process of reconnecting with a body of work that developed gradually. It wasn't any one thing—it wasn't simply my response to Love and Theft or any of the later albums, although Love and Theft was important.

Barkhorn: I've always wondered what exactly it means to be a historian in residence of a website. I have, too. Basically the story is, I got this gig basically to do this one thing—if I liked the record, I would write about it. And I liked the record, and I wrote about it, and they liked what I wrote. The nice thing about websites is, as a moonlighting thing, you can write as often as you want, on a whim. So I wrote a couple of more things on the site, and brought it up with the people at Bob Dylan.

And I was writing a fair amount, and I made up the title. I made it up sort of facetiously because, you know, how can you be in residence in cyber space? I was very aware of that.

It was kind of a joke, but it also ratifies, or codifies a set of beautiful friendships, and my closeness to those people. How close I feel to them. Barkhorn: Does your work on Bob Dylan make you cooler in the eyes of your students, or were they born too long after his early work came out?

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And some of them are very much into Dylan's work—his earlier work, but also some of his recent stuff. So they're curious, and they ask me about it some. I don't know that my coolness factor goes up or down particularly. I guess you'd have to ask them. I can't say I walk around campus thinking that the students admire me for that particularly.

The student you'd probably heard of is Elena Kagan —she was one of my very first students, and I advised her senior thesis. Elena Kagan did not come to study with me because of Bob Dylan. Barkhorn: With all the writing you've done on Dylan, are you still able to be a fan? Oh, yeah! I love going to Bob Dylan concerts.

I love hearing him. I think my appreciation has made me a better fan—has deepened my enthusiasm for his work, including the stuff I don't like because it makes the stuff I do like all the better. I think being a fan has certainly propelled or reinforced my interest in finding out more about him—or more about his work. He as a person is not as interesting to me as his work. Barkhorn: What songs or albums do you recommend to people who are just starting to get into Dylan's music?

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And then the three that follow really have to be heard as a whole, though there are particular songs on each of those albums. Tambourine Man " is obviously an important one on that one. And another one I choose is " Bob Dylan's th Dream " off of that one. And on Blonde on Blonde , " Visions of Johanna " most of all, which I think may be his greatest song, as a work of art.

So, you know, that's how you start. But that would be a start, it wouldn't be an ending. Because there's plenty on Blood on the Tracks , plenty on Love and Theft , plenty throughout the career.

Bob Dylan in America | Book review | Music | The Guardian

Understand, too, that one ought to take all that work in context. There's early Yeats and a later Yeats. There's Portrait of the Artist as a Young Man and there's Finnegan's Wake —both of those are James Joyce, but obviously from different periods in his development.

And I think you have to do the same with Dylan. We want to hear what you think about this article. Submit a letter to the editor or write to letters theatlantic.

Eleanor Barkhorn is a former senior editor at The Atlantic.

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