Thursday, October 27, 2016

Dylan Speaks (through Song)


                            (Doris Lessing, myself, and my son, circa 1993)



Bob continues to subvert expectations. It’s just how he is; it’s why his art is so reliably good. Surely, those of us who have been paying attention should have learned, by now, to have no particular expectations at all.


Like so many other fans, I was thrilled when I heard the news of Dylan’s Nobel Prize. I even used it as an excuse to fly to Vegas to see him on the very day! I felt proud to shout my congratulations to him on stage. But now I wonder, what does the Nobel Prize mean to Bob? Anything?


We grow up knowing about the prestige of the award. Many greats have been named through the years, from Neruda to Beckett. I had a deeply emotional reaction, as if I was somehow being rewarded, because I love Dylan’s work. Thousands of others felt the same. The Nobel is a cultural symbol that has enjoyed nearly entirely positive connotations.


Before this week, I knew nothing about its namesake’s armaments business. But now, I do. “Sometimes, the silence can be like thunder.” Or dynamite?


Of course, I don’t know if Dylan gives a damn about Alfred Nobel’s business history, but the quiet has made it something to think about. Strangely enough, nearly a week before the prize was given, Dylan performed a searing version of “Masters of War” for the encore at Desert Trip. Surely a “coincidence” but it seems even more bizarre when you read the set lists and see that Bob hadn’t sang the song for nearly six years!


He has also been singing “It’s All Over Now, Baby Blue” at recent shows. I guess we need to take what we can gather.


Does he care about the prize? Should I, after all? Leonard Cohen said it perfectly (of course): “It’s like pinning a medal on Mount Everest for being the highest mountain.”


But, the Nobel Prize! How can you resist? Look at that list! Yeats, Pinter, Singer, Szymborska!


Who is this committee anyway? Seven distinguished Swedes. Professors and writers.


“It is not he or she or them or it that you belong to.”


Perhaps I might have held Doris Lessing’s reaction more firmly in my mind.  “Oh Christ!,” she exclaimed, accosted at her door by the reporters. As if she was already fed up with the whole business.


You know who really cares about The Nobel? All those snarky young writers insulting Bob on twitter. What a laugh.


“They chirp and they chatter

What does it matter?

They’re lying there dying in their blood”


Here’s what Lessing said at her own Nobel Lecture in 2007, entitled, tellingly, “On Not Winning the Nobel Prize.” She speaks of what she has seen happen to a young artist, suddenly applauded, suddenly in the public eye:


“And we, the old ones, want to whisper into those innocent ears. ‘Have you still got your space? Your soul, your own and necessary place where your own voices may speak to you, you alone, where you may dream. Oh, hold onto it, don't let it go.’”


Some young writers commenting on Dylan’s Nobel seem eager to give up that “necessary place.” Fame is the prize, they have been taught.


And Dylan, two weeks ago in Vegas, on the evening of the day’s news:


“You’ve been with the professors
And they’ve all liked your looks
With great lawyers you have
Discussed lepers and crooks
You’ve been through all of
F. Scott Fitzgerald’s books
You’re very well read
It’s well known.”


Mr. Jones needs approval.


Lessing, again:


“The storyteller is deep inside every one of us. The story-maker is always with us. Let us suppose our world is ravaged by war, by the horrors that we all of us easily imagine. Let us suppose floods wash through our cities, the seas rise. But the storyteller will be there, for it is our imaginations which shape us, keep us, create us - for good and for ill. It is our stories that will recreate us, when we are torn, hurt, even destroyed. It is the storyteller, the dream-maker, the myth-maker, that is our phoenix, that represents us at our best, and at our most creative.”


The storyteller lives to tell the tale. She is beholden only to her muse.


In these days of flashy media, the storyteller is conditioned to respond to page hits, “likes,” blurbs of peers, positive reviews, and of course, literary awards. The dust jackets of books no longer offer much of a hint of what a novel is about. They only tell what “important people” think of the contents.


It was not always so. The storyteller who describes accurately, or changes the direction of the culture, needs only to see the eyes of the audience to understand if the tale has had an effect. He doesn’t need a “blurb” from the bard of the next valley.


Most of Lessing’s lecture (well worth a read) speaks of the poor in her childhood home of Zimbabwe who are hungry for knowledge, for literature, who might never have the education or cultural inroads to become prizewinners, but who would simply love to have access to the stories themselves, and perhaps to write their own. She posits that these basic human values have been lost in the wealthy vortex of a status and fame obsessed society.


The Nobel Prize and other awards affirm a fashionable perception that critical reception of the art matters greatly. But while a discussion of the art can be worthwhile, can inform and teach, Lessing (and now Dylan) reminds us that it’s not the important bit, not at all. Art is a direct communication to the very heart of the listener/reader/viewer. And this has always been Dylan’s genius: to touch thousands of listeners in their own home-life, their own soul-life.


So, finally, I’d like to put to rest one more basic assumption that has saturated the whole post Dylan Nobel discussion.


The falsehood: Dylan has remained silent. The truth: Since the announcement, Dylan has played 10 concerts, totaling approximately 15 hours, directly addressing approximately 100,000 people, on topics such as the rape of the economy by Wall Street (Early Roman Kings), the general state of the Union (Desolation Row), busted love (Long and Wasted Years), true love (Make You Feel My Love), the role of vengeance in contemporary geo-politics (Pay in Blood) and a variety of other themes pertinent to the human heart in the early 21st Century.


What’s that? He didn’t say a word about a Scandinavian prize? I guess he’s been a little busy being a troubadour.


My guess, however, is that when the current tour is done (the important thing), Bob will graciously accept this latest honor. He has accepted other prizes. The Medal of Freedom. Why? He clearly loves many aspects of his America. You could even call him a proud American but that would be oversimplifying. He is, without a doubt, the greatest American artist. And of course, he accepted the Oscar, a facsimile of which accompanies him on stage every night. Why? He has always loved the movies, especially old-school.


But mostly, I have gleaned, second to music, he loves books. He is no doubt an admirer of many of the previous winners, and I think he will respect them by accepting the award. I think he is probably honored to be in that company. He probably won’t hobnob with the Swedes, however, anymore than he did with the president.


He has accepted other prizes too, but always on his own terms.


I would even venture to guess, that between shows, between conducting his own nightly poetry readings, his séances that defy time and critics, Bob might be perusing the lectures of past Nobel Laureates, wondering how exactly he might address the issue, when he is ready. A speech of his own, like MusicCares? A song with the band? Or a simple handshake? Or less?


In the meantime, all this “silence?” Sure has provoked a lot of thought.

1 comment:

  1. Bob still making shoes for everyone. Great post. Enjoyed reading it.

    ReplyDelete