Dylan's Visions of Sin FROM THE PUBLISHER
A scholarly, in-depth analysis of the whole range of Bob Dylan's lyrics both early and late from one of the most distinguished literary critics of our time, the man W.H. Auden called "exactly the kind of critic every poet dreams of finding."
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.
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, 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 taking. 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," Charity "Watered-Down Love."
In the New Yorker, Alex Ross recently 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, 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."
FROM THE CRITICS
Jonathan Letham - The New York Times
[Ricks] has, seemingly, merely wished to test the songs he loves against his own pre-existing context, which happens to be Philip Larkin and Matthew Arnold, not Blind Willie McTell. In doing so he's found the songs all the more extraordinary, not wanting in any measure. Fair enough. Any critic's a blind man, faced with an elephant as formidable as the collected works of Bob Dylan. But some blind men have extraordinarily sensitive hands, and it is not impossible to imagine an elephant's pleasure at their touch.
Publishers Weekly
Ricks, a professor of humanities at Boston University, allows his own musings about Bob Dylan to go "blowin' in the wind" in this love letter to the enigmatic bard. Focusing on the centrality of the seven deadly sins (pride, anger, lust, envy, sloth, greed, covetousness), the four virtues (justice, temperance, fortitude, prudence) and the three graces (faith, hope, love) in Dylan's writings, Ricks confirms Dylan's poetic genius and elevates the poet of the north country to canonical status alongside Tennyson, Shakespeare and Milton. Through a series of closely engaged readings of selected songs, Ricks demonstrates how each reflects a concern with sin, virtue or grace. Thus, "Lay, Lady, Lay" becomes an anthem of lust, "A Hard Rain's A-Gonna Fall" a paean to fortitude and "If Not for You" a tribute to love. In every reading of the songs, he compares Dylan's poetry to the work of other poets, often finding either explicit correspondence or structural echoes of earlier works. For example, Ricks contends that the structure of "A Hard Rain's A-Gonna Fall" mimics the structure of the early Scottish ballad "Lord Randal." Sometimes Ricks strives to be too hip and precious as when he characterizes "Lay, Lady, Lay" as "erotolayladylaylia," and when he concludes that there are similarities between other poems and Dylan's by providing a list of one word correspondences, as he does with "Lay, Lady, Lay" and Donne's "To His Mistress Going to Bed." Nevertheless, Ricks's affectionate critical tour-de-force reminds readers why Dylan continues to encourage our "hearts always to be joyful" and our "songs always to be sung" as we remain "forever young." (June) Copyright 2004 Reed Business Information.
Library Journal
Literally hundreds of books have been written about Bob Dylan and his music, but very few have considered his lyrics as works of literature. One notable exception is John Hinchey's fine Like a Complete Unknown: The Poetry of Bob Dylan's Songs 1961-1969 (2002). Ricks (humanities, Boston Coll.; formerly English, Cambridge) takes things a step further with his scholarly approach to over three decades of Dylan's music. Ricks, who has previously written about Keats, Browning, Milton, and Eliot, is an old-school literary critic more interested in understanding and appreciating the works at hand than in deconstructing them. His criticism is erudite and incisive, his writing witty and enjoyable, and his analysis broadened by comparisons to the poetry of canonical writers such as Eliot, Hopkins, and Larkin. The title is, however, a bit of a misnomer. While the book takes a thematic approach based on the seven deadly sins, it also covers the four virtues and the three graces. Highly recommended for academic libraries and for public libraries with strong literature or music collections.-Alison M. Lewis, Drexel Univ. Lib., Philadelphia Copyright 2004 Reed Business Information.
Kirkus Reviews
A gifted poetry critic takes on the lyrics of rock bard Bob Dylan. Ricks (Humanities/Boston Univ.) has penned tomes on Milton, Keats, Eliot, and Tennyson, but he has long been fascinated by Bob Dylan: His 1984 essay "Cliches and American English" was a much-lauded textual reading of the singer-songwriter's work. In this ambitious and intellectually freewheeling work, Ricks takes a full-length look at the poetic and moral underpinnings of Dylan's songs. Selecting tunes both well-known ("Positively Fourth Street," "Lay Lady Lay") and obscure ("Clothes Line Saga," "Handy Dandy"), Ricks analyzes them lyrically and structurally in terms of their relationships to the Seven Deadly Sins, the four virtues, and the three heavenly graces. This approach is sometimes strained, and some of the songs don't sustain the author's thematic scrutiny. Ricks nonetheless proves to be a lively and learned guide through the sometimes-daunting thickets of Dylan's compositions. He is especially astute at picking apart the musician's rhyme schemes and turns of rhythm, and he is an especially lively and (surprisingly, for an English poetry scholar) playful guide through the mechanics of the work. A chapter doesn't pass without some deft and amusing allusion to other pertinent numbers in the Dylan canon. But the author is less skilled at discussing the meaning and moral weight of the songwriter's oeuvre. Unlike most Dylan pundits, he completely eschews a biographical reading of the texts; while that might open the door for a fresh consideration, Ricks's interpretations often seem too open-ended and airless. The reader-especially one with a nonacademic bent-may ultimately wonder for whom this was written. Its length,intellectual density, and plentiful citations of poets both ancient and contemporary will probably put off all but the most devoted Dylan enthusiasts, while poetry buffs will likely ask themselves if a musician, even one of Dylan's caliber, is worthy of something as weighty as this. A diverting and occasionally revelatory stroll through a master's work, but one that will have a difficult time finding an audience.
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