Boston Review | Tim Riley reviews Greil Marcus's Bob Dylan 4/6/09 3:40 PM CURRENT ISSUE table of contents Invisible Republic FEATURES Greil Marcus new democracy forum Henry Holt, $22.50 new fiction forum by Tim Riley poetry fiction For the past twenty-odd years, Bob Dylan has played out one of the film most excruciating endgames of any rock career. The steadfast still flock archives to his shows for the odd flash of inspiration, but after one too many of ABOUT US his inert performances, even the hard-bitten lose faith. At his thirtieth anniversary celebration in 1992, surrounded by friends like Roger masthead McGuinn, George Harrison, Tom Petty, Neil Young, and Lou Reed, mission Dylan played the fading rock icon as pale, puffy ghost, the burned-out rave reviews shell of the protean voice-of-a-generation who had written the contests evening's parade of classic songs. Can anyone imagine the Dylan of an writers’ guidelines earlier era allowing Sinead O'Connor to be booed offstage for defying internships the Pope--without so much as a retort? Alongside fiascoes like his ambivalent 1985 LiveAid set, his indecipherable 1991 Grammy advertising appearance, this thirtieth anniversary performance reinforced the SERVICES impression that Dylan was more a casualty of the sixties than a bookstore locator survivor. literary links This Dylan makes no appearance in Greil Marcus's Invisible Republic, a subscribe literary fantasia on the fabled 1967 Basement Tapes. Rock's most erudite and graceful stylist, Marcus is best known for Mystery Train, his 1975 treatise on rock as American myth, and Lipstick Traces, a Search this site or the web Powered by FreeFind forbidding historical tour of the avant-garde by way of the Sex Pistols. His passion for Dylan began with early articles for Rolling Stone: an early bootleg discography in 1968, and a famous pan of Self-Portrait, Find! the 1970 Dylan twofer that was a lot more prophetic than anyone Site Web imagined. In Invisible Republic, he tries to justify what was great about Dylan's sixties, and pretends that no amount of artistic dissipation can alter it. Like the later Dylan it ignores, Invisible Republic falls prey to the hoariest clichs about rock critics and their conceits. To begin with, Marcus has mastered the short form so thoroughly that his longer work Azores from 543 USD lacks coherence. His one-offs are so thick with insight and broad in Direct flights from taste that he has no peer as a magazine journalist (as in Mystery Train, Boston. Book online now! SATA.pt/ClickToFly Invisible Republic's best stuff is in the endnotes). In short takes, Marcus brushes up against greatness; in the long form he leaps from Dylan to Alexis de Tocqueville to Don Henley in a single paragraph. The book lacks an overarching theme that gets developed, restated, and carried to RV Rentals in Boston a satisfying conclusion. Along the way, Marcus gets even higher on his MA Rent a Winnebago RV own fumes than he does on Dylan's: for your next Family vacation in Boston! For then, in the shifting humors of the old Americas that CampingWorld.com/RVRentals loom up in the songs, neither a secret identity nor a faked death, more or less what has been acted out in http://bostonreview.net/BR22.5/riley.html Page 1 of 4 Boston Review | Tim Riley reviews Greil Marcus's Bob Dylan 4/6/09 3:40 PM "Clothesline Saga," would be worth a dollar or a dram, ⊕ Boston Coupons ⊕ and anyone listening would have to answer for which 1 Ridiculous Boston song he liked best, for who she really was. Coupon Daily It's Like Doing Boston at 90% Off! Marcus's identification with Dylan is even more vexing than his Groupon.ThePoint.com/Today'sDeal feverish ID with Elvis Presley, his other great subject. As a result, the Basement Tapes have a lot to answer for. To Marcus, Dylan is the whole of sixties culture rolled up into one cultural sparkplug of a Yamaha Corp Music rockabilly intellectual, the era's self-conscious primitive with an School Music Lessons for Kids aesthetic gene pool that reaches back to Kentucky warbler Dock Boggs and Adults Info Video On and folkie anthologist Harry Smith. Our Site www.ymsboston.com Although Dylan and the Band's work on the Basement Tapes is possessed by greatness, Marcus's hyperbolic style, like that of Pauline Kael (to whom the book is dedicated), distorts his judgment. In any Jae H. Kim Tae Kwon case, no music could live up to what Marcus writes about Dylan and Do most recognized martial the Band ("their ringing voices make it plain that what they're really arts school in New selling is America, because in America the fantasy of the country sells England for 30 years everything else and everything else on sale sells the country"). There's tkd-boston.com no way Elvis Presley could live up to people's idea of Elvis, so he squandered it on Vegas comebacks, Cadillacs and peanut-butter-and- banana sandwiches, and in Mystery Train and Dead Elvis, Marcus turned that spectacle into indelible subject matter. Dylan carries an even larger burden than Presley, according to Marcus. Over 280 pages, he bloats the Dylan myth up beyond recognition: More than thirty years ago, when a world now most often spoken of as an error of history was taking shape and form--and when far older worlds were reappearing like ghosts that had yet to make up their minds, cruel and paradisiac worlds that in 1965 felt at once present and impossibly distant--Bob Dylan seemed less to occupy a turning point in cultural space and time than to be that turning point. As if culture would turn according to his wishes or even his whim; the fact was, for a long moment it did. There are important ideas behind all this smoke. Marcus is at his best when recalling the fifties' folk revival, the emergence of Dylan as the conscience of the early sixties Civil Rights movement, and Dylan's "betrayal" of folk ethics by going electric at the Newport Folk Festival of 1965. He remembers the music in pithy, vivid strokes: "Desolation Row" is "a funny, tense, graceful eleven-minute parable of utopia as absolute exile and twentieth-century culture as the Titanic." There may be nobody better at translating abstract sounds into descriptive, meaningful words, and Marcus's ear is tuned in to every nuance, every flutter of Dylan's harmonica. But even if you agree with Invisible Republic's provocative thesis--that secret histories can be brought to life through traditional song, and that Dylan once held this country's fantasies by the small hairs--the language catches you up short: "Out of some odd displacement of art and time, the music seemed both transparent and inexplicable," he writes. Even aimless marijuana reveries are lovingly described as musical enlightenment. "Music made to kill time ended up dissolving http://bostonreview.net/BR22.5/riley.html Page 2 of 4 Boston Review | Tim Riley reviews Greil Marcus's Bob Dylan 4/6/09 3:40 PM it," and so on. Marcus's scholarship is rich in detail, but selective. He points out that the antebellum song "No More Auction Block" is a melodic source for Dylan's "Blowin' in the Wind," but cannot concede how overrated the Dylan's most famous song is. Held up as a prime example of sixties utopianism, "Wind" is a naive piece of songwriting, a vapid list of questions with a cop-out hook. At times, Marcus reaches outside the Basement Tapes arbitrarily but ignores some obvious and important connections. Marcus also downplays Dylan's relationship to Woody Guthrie: he prefers Dylan's inward, psychological approach to Guthrie's outward, agitprop persona. But Dylan's greatness lies in just how ingeniously he straddles these two approaches, keeping the listener guessing as to his ultimate intentions--and how much is pure accident. His first public appearance after the Basement Tapes goes unmentioned here: at a Guthrie tribute in early 1968, Dylan offered up three Guthrie songs with the Band ("I Ain't Got No Home," "The Grand Coulee Damn," and "Dear Mrs. Roosevelt"), extending the folksy mood of the Basement Tapes even as he brought these Guthrie songs (hardly agitprop) some neurotic grit, and emotional depth. The best Dylan is even more complex--and inconsistent--than Marcus would have you believe. Late Dylan holds little interest for Marcus, except when he serves his purpose: he ignores everything after 1968 until 1992's Good as I Been to You and 1993's World Gone Wrong, two acoustic efforts that redeemed his "inexorably decaying public life." These records handily tie in with Marcus's central idea of Dylan as supernatural channel of the old, wild America, reviving lost treasures as a way of shedding light on rock's tributaries. These two records, he writes, "removed him from the prison of his own career and returned him--or his voice, as a sort of mythical fact--to the world at large." (Exactly what is a "mythical fact"?) Forget that Marcus dubbed Dylan's Empire Burlesque (1985) "another dead battery," or bemoaned the lead-boot title of Under A Blood Red Sky (1990). Invisible Republic has an invisible agenda: the make the sixties respectable again. But there are whole worlds of music here that are still unavailable and difficult to find even if you collect bootlegs and plug into Dylan forums on the Internet. So Marcus falls prey to another exasperating clich: he writes about music so rarefied that few will ever hear it.