Structured around the concepts of sin, virtue and grace, Ricks's close reading and imaginative cross-referencing will indeed uncover meanings in Dylan's songs that would never have occurred to you' Anthony Quinn, Daily Telegraph ------------------------------------------------------------------------ 'Everything Ricks has to say about Dylan is ...
Structured around the concepts of sin, virtue and grace, Ricks's close reading and imaginative cross-referencing will indeed uncover meanings in Dylan's songs that would never have occurred to you' Anthony Quinn, Daily Telegraph ------------------------------------------------------------------------ 'Everything Ricks has to say about Dylan is original. Ricks is a critic who seems to be talking to you from within the work. He can turn the smallest niche in a poem or song into a vast cathedral of resonance and implication' Brian Appleyard, Sunday Times --------------------------------------------------------------- 'Ricks on Dylan is the best there is' New Yorker
Good. Books have varying amounts of wear and highlighting. Usually ships within 24 hours in quality packaging. Satisfaction guaranteed. This item may not include any CDs, Infotracs, Access cards or other supplementary material.
Acceptable. A readable copy. All pages are intact, and the cover is intact (However the dust cover may be missing). Pages can include considerable notes--in pen or highlighter--but the notes cannot obscure the text. Book may be a price cutter or have a remainder mark.
Explicating Bob Dylan's lyrics has become a cottage industry. Christopher Ricks, an Oxford Professor of Poetry, certainly has the credentials to submit the songwriter's lyrics to that sort of close reading. In Dylan's Visions of Sin, Prof. Ricks frames the lyrics in terms of sins, virtues and graces, submitting them to a kind of laser scrutiny, including one-word concordances between the song lyrics and poems by the likes of Milton and Tennyson. Elsewhere, he invokes John Donne and T.S. Eliot. Dylan's words merit critique, but except for a few brilliant readings, somehow Ricks' approach isn't very edifying for a number of reasons.
By its very nature, Dylan's art is hybrid and impure. His lyrics aren't intended for the page and when you read them that way it's clear. The tone is flat. They cannot be read metrically. They are bereft of the nuances the singer suggests in his phrasing, his lonesome voice wailing like a freight train in the vast Midwestern night.
Simply put, the words are meant to be sung. This reviewer shares with Richard Goldstein the minority view about his vocals: "Dylan's voice was a lot wider than anything I had ever heard. It had peaks and recesses, and great dark groves of manzanita where the tonsils might have been." In addition, the singer's phrasing gives the words an unpredictable twist in its careening swoops, abrupt turns, rises and falls, high, keening wails. Listen to how Dylan's emphasis and inflection falls on certain words ("success," for example); his phrasing yields ambiguities, sensuous pleasures, and double entrendres that cannot be found on the page. The singer employs many voices, altering and evolving his instrument's sound to embody each album's specific concept or mood.
Further, Dylan's language cannot be separated from the music that accompanies them, and the music itself is hybrid: English folk ballads, the blues, country, rockabilly, Chuck Berry, "sea chanteys, drinking songs, tall tales, and early rock and roll," as Greil Marcus observed in his Basement Tapes liner notes. On "Blonde on Blonde," the carnivalesque music is wholly wedded to "Visions of Johanna's" vast Goyaesque cityscapes. Elsewhere, the album's music sounds equally as hilarious, joyous, boozy, sleazy or affecting as the lyrics themselves or else it serves as bouncy rejoinder to a nightmarish narrative; "Stuck inside of Mobile with the Memphis Blues Again," for instance, is filled with the spaced-out displacement of dreams.
The lyrics invite analysis, but Goldstein writes, "There was a deft opacity to Dylan's work which functioned as a kind of counterpoint, adding a tension of denial to whatever he said, so that you could never really commit yourself to an interpretation without feeling like a fool." That is, the songwriter employed surrealist technique which joins unlikely opposites and contrasts. "The charge [of surrealist art]," contends Norman Mailer, "comes more from sound than from meaning." The words both invite and deny meaning. However, it should also be said, as Goldstein noted, that "Pop music has been a first sphere of cultural authority, a testing ground for ideas and attitudes which later reflect themselves in behavior." Time itself has granted the songs a certain transparency.
In "Ballad of a Thin Man," Dylan sings, "You should be made to wear earphones." While it's obvious that the songwriter is familiar with the work of poets such as Arthur Rimbaud, Eliot, and Allen Ginsberg--the songwriter's "the ghost of electricity howls in the bones of her face" and Ginsberg's "the machinery of other skeletons," to take but one example--in the end, any serious assessment of Bob Dylan's art of song cannot be made apart from the singer's voice and the music that accompanies the words. All are inseparable.
Publishers Weekly, 2004-04-12 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) (c) Copyright PWxyz, LLC. All rights reserved
Alibris, the Alibris logo, and Alibris.com are registered trademarks of Alibris, Inc.
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited, Baker & Taylor, Inc., or by their respective licensors, or by the publishers, or by their respective licensors. For personal use only. All rights reserved. All rights in images of books or other publications are reserved by the original copyright holders.