Along Bob Dylan

All Along Bob Dylan: America and the World offers an important contribution to thinking about the artist and his work. Adding European and non-English-speaking contexts to the vibrant field of Dylan studies, the volume covers a wide range of topics and methodologies while deal- ing with the inherently complex and varied material produced or associated with the iconic artist. The chapters, organised around three broad thematic sections (Geographies, Receptions and Perspectives), address the notions of audience, performance and identity, allowing to map out the structure of feeling and authenticity, both, in the case of the artist and his audience. Taking its cue from the collapse of the so-called high-/ low-culture split following from the Nobel Prize, the book explores the argument that Dylan (and all popular music) can be interpreted as literature and offers discussions in the context of literary traditions, or visual culture and music. This contributes to a nuanced and complex portrayal of the seminal cultural phenomenon called Bob Dylan.

42 Death-Facing Ecology in Contemporary British and North American Environmental Crisis Fiction Louise Squire

43 Poetry and the Question of Modernity From Heidegger to the Present Ian Cooper

44 Apocalyptic Territories Setting and Revelation in Contemporary American Fiction Anna Hellén

45 Displaced Literature of Indigeneity, Migration, and Trauma Edited by Kate Rose

46 Masculinities in Austrian Contemporary Literature Strategic Evasion Matthias Eck

47 Transcending the Postmodern The Singular Response of Literature to the Transmodern Paradigm Edited by Jean-Michel Ganteau and Susana Onega

48 The Politics of Literature in a Divided 21st Century Katharina Donn

49 All Along Bob Dylan America and the World Edited by Tymon Adamczewski

For more information about this series, please visit: https://www.routledge.com All Along Bob Dylan America and the World

Edited by Tymon Adamczewski First published 2021 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2021 Taylor & Francis The right of Tymon Adamczewksi to be identified as the author of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data A catalog record for this title has been requested

ISBN: 978-0-367-23626-7 (hbk) ISBN: 978-0-429-28086-3 (ebk) Typeset in Sabon by codeMantra Contents

List of Contributors vii

Introduction: The “Thing” about Bob Dylan 1 TYMON ADAMCZEWSKI

SECTION 1 Geographies 15

1 Bob Dylan’s Minnesota Roots 17 DAVID PICHASKE

2 At the Origins of the New Folk Star: Bob Dylan’s New York Period (1961–1963) 31 MAREK JEZIŃSKI

3 Dylan on Nostalgia: Idealising the Past and Paralysing the Present 47 STEPHEN DEWSBURY

SECTION 2 Receptions 57

4 Bob Dylan and the Invasion of Mexico 59 TADEUSZ RACHWAŁ

5 Conspiring to Be Unknown; or, Is a Bob Dylan There? 71 AGNIESZKA PANTUCHOWICZ

6 Bob Dylan – The Unwilling Icon of the Counterculture 82 JERZY JARNIEWICZ vi Contents 7 The Polish Internet Discourse on Dylan 97 MARCIN MICHALAK

SECTION 3 Perspectives 113

8 The Dylanesque Confluence of the Multitude: From Bob Dylan Inspired to Bob Dylan the Inspirer 115 DARIUSZ PESTKA

9 Dylan and Springsteen: Master and Follower Look at America 127 BOHDAN SZKLARSKI

10 Bob Dylan’s Character(s) on Screen 141 MARLENA HETMAN

11 The Geometry of Love and Lies: Re-Shaping Italian Literature through Dylan’s Lyrics 154 GIULIO CARLO PANTALEI

Index 169 Contributors

Tymon Adamczewski, Ph.D., is assistant professor at the Department of Anglophone Literatures of Kazimierz Wielki University in Bydgoszcz, Poland, where he teaches literary and cultural studies. His academic interests revolve around the critical discourses of contemporary humanities, music and ecocriticism. Stephen Dewsbury is Senior Lecturer in the Philological Faculty at the University of Opole, Poland. His research and teaching expertise are in British Culture, Language and Literature. His writings have covered an eclectic array of topics such as Cheshire dialect, RMS Titanic, post-colonial Ghana, the excesses of the conservative elite, public hanging in 18th- and 19th-century England, jingoistic attitudes towards Europe and the European Union, Monty Python and class, restoration of monarchy under the reign of Queen Anne, the death of Margaret Thatcher and the rhetoric of British bulldog imagery and symbolism. Marlena Hetman is a Ph.D. student at Nicolaus Copernicus University, Toruń, Poland. Her research focuses on aesthetics of contradiction in the context of Sam Shepard’s family plays and Friedrich Nietzsche’s early insights into the origins of drama. She studies the interplay between philosophy, art, aesthetics and psychology. Since 2019, in co-operation with University of Gdansk, she has initiated interdisciplinary conferences dedicated to the influence of art and philosophy on mental health with topics such as loneliness, authenticity, vulner- ability and freedom. Jerzy Jarniewicz (b. 1958 in Lowicz) is a Polish poet, translator and literary critic, who is also Professor at University of Lodz, Poland, where he lectures in English. He has published twelve volumes of poetry, thirteen critical books on contemporary literature and literary translation, and has written extensively for various journals, including Poetry Review, Irish Review and Cambridge Review. His most recent work is the anthology Six Irish Women Poets, which he selected viii Contributors and translated, and a collection of essays on the Counterculture of the Sixties. Marek Jeziński, Professor at Nicolaus Copernicus University, Toruń, Poland, is the Head of the Faculty of Communication, Media and Journalism. His main academic interests include social anthropology and contemporary popular culture. He is the author of 6 books and over 100 academic papers on political science, sociology, popular culture, contemporary theatre and music. Marcin Michalak, Ph.D., is Assistant Professor at the Faculty of Social Sciences of the University of Warmia and Mazury in Olsztyn, Po- land. His research interests concern rock music, hippie counterculture, popular music education, musical preferences with reference to the philosophy and sociology of education, artistic education as well as multi- and intercultural education. He is the author and co-author of a great deal of publications, including the books Music education in Poland. Diagnoses, debates, aspirations (with A. Białkowski, M. Grusiewicz, Warszawa 2010, in Polish), Rock music in the consciousness and education of grammar school youth (Toruń 2011, in Polish). Giulio Carlo Pantalei was born in Rome and graduated from University of Roma Tre with a thesis on P. P. Pasolini. He is currently a Ph.D. student in Italian Studies at the same institution and a Visiting Ph.D. candidate at the University of Cambridge, after a period as a post- graduate researcher in 2014 at the University of Oxford. A writer and musician in a band called “Panta”, he collaborated with David Lynch Foundation in Italy, Paolo and Carlo Verdone, Pierpaolo Capovilla and Bono Vox’s ngo ONE. His research into the connection between the Italian Literature and the Anglo-American music came out Poesia in forma di Rock (2016) and is now at its second reissue. His cur- rent research examines the lyrics written by Italian writers, including Calvino, Pasolini and Moravia in the second half of the twentieth century. Agnieszka Pantuchowicz, Ph.D., is assistant professor at the SWPS Uni- versity of Social Sciences and Humanities in Warsaw, Poland, where she teaches translation and literary studies. Her research interests are translation theory and cultural studies, comparative literature and feminist criticism. Dariusz Pestka, Ph.D., works at the Applied Linguistics Department of Nicolaus Copernicus University, Collegium Medicum in Bydgoszcz. His interests include English and American literature, with a special emphasis on Post-Romanticism, Aestheticism, Modernism and Post- modernism. His is also the author of numerous publications on Brit- ish and American cultures, particularly classical and popular music as well as on aspects of the history of visual arts. Contributors ix David Pichaske, who is two years younger than Bob Dylan, lives in Gran- ite Falls, Minnesota, and teaches Literature at Southwest Minnesota State University. He has published many articles and two dozen books on Midwest culture and music of the sixties, including Beowulf to Beatles: Approaches to Poetry (Free Press, 1972), A Generation in Motion: Popular Music and Culture in the Sixties (Schirmer Books, 1979), Late Harvest: Rural American Literature (Paragon House, 1991), Rooted: Seven Midwest Writers of Place (University of Iowa Press, 2006), Song of the North Country: A Midwestern Framework to the Songs of Bob Dylan (Continuum, 2010), and recently his memoir of a sixties child, Here I Stand (Ellis Press, 2015) and a collection of essays, Crying in the Wilderness (Ellis Press, 2016). Tadeusz Rachwał is Professor of English at the SWPS University of Social Sciences and Humanities in Warsaw, Poland, where he teaches literary and critical theory. His publications address various issues of contemporary critical theories in social and political contexts. Bohdan Szklarski is Associate Professor of Political Science, Graduate of the English Institute, Warsaw University and the Department of Polit- ical Science, Northeastern University, Boston. In his over 30 years of teaching he has taught at numerous American and Polish Universities. He served as a director of the American Studies Center, Warsaw Uni- versity (2012–2016). Now he is the Head of the Leadership Studies at ASC. He also lectures at Collegium Civitas, a non-public college of social sciences. He guest lectured at many universities in the USA, China, Germany, Italy, France, Greece, Czech Republic, Georgia and Vietnam. Prof. Szklarski’s research interests include political leadership, political communication, American political culture and insti- tutions, comparative politics and political anthropology. He authored over 60 academic publications. Prof. Szklarski frequently appears as a commentator on American and Polish political events in the media. Personally, a fan of Bruce Springsteen, American football and long walks with his golden retrievers.

Introduction The “Thing” about Bob Dylan

Tymon Adamczewski

In one of David Lodge’s classic academic novels, Small World, the young, talented yet lovelorn Irishman, Persee McGarrigle, decides to use the remains of his literature prize money to rent a cottage in Connemara and lock himself away so as to procure inspiration. His plan is simple: “buy a second-hand car, fill the back seat with books and writing paper and Guinness and his cassette player and Bob Dylan tapes and spend the summer in some equivalent of Yeats’s lonely tower, writing poetry” (Lodge 1985, 208). While the possibility of taking shelter in a creative hideout may sound undoubtedly appealing – especially for those strug- gling to meet a deadline or two – the whole idea contributes more to Lodge’s farcically exaggerated portrayal of scholarly life developed in his academic romance than to a faithful reflection of reality. But there is a significant aspect about which this quote is quite right, and that is Dylan’s influence. This somewhat marginal remark in the novel seems to put a finger on the importance of the artist, the power of his works and one basic fact: Dylan simply grows on his public. And I don’t mean it in the physical sense. It may not be with the first mentioning of his name, or with the very first listening to his songs and records, but anyone who manages to go beyond the present flash-speed of interacting with things will easily attest – the effect is definitely there. This has to do more with the idea of transcending the materiality of an actual record, the content of his lyrics or of going beyond the here-and-now. As a process, it involves the symbolic or mythical effect, both, his artistic persona and his craft exert on people. And this is precisely what’s visible in Lodge: Dylan’s artistic output not only offers words of wisdom and experience to the inexperi- enced (the youthful Persee), or even a ting of inspiration and emotional fellow-feeling to the lovesick or emotionally troubled (anyone listening to Dylan), but it can – or perhaps exactly because of that – be ranked with works by renowned literary figures such as W.B. Yeats. Funnily enough, the Irish poet’s idea of “the widening gyre” may perfectly illustrate the effect I’m thinking about here. Lodge’s text seems to hint at this as well because the influence is mutual: like literature, his songs record experiences and (re)produce them in their audience; in other words, they 2 Tymon Adamczewski hold the traces of the past and a promise of a future, allowing the audience to revisit feelings and events, and relive and reconstruct them anew. In fact, this is part of the allure of coming back to cultural texts we like and respond to (books, records, movies, etc.), Dylan included. But, if this effect is common to other cultural texts, what is it that makes him so special? In a way, there certainly exists a sort of gyre-like catalyst quality to the artist and his creations, a certain fusing of the personal (some call it “confessional”) and the social, mixed with the ability to put all of these contexts into words, the meaning of which transcends mere scribbles on a page or the duration of a song. It extends into something which echoes and resonates over an ever-widening range of impact. Resembling Hamlet’s “thing” in which we can uncover the consciousness of the King (of Dylan, of ourselves, or anyone else’s for that matter), this peculiar “Dylan effect” reaches out to the people over time and space, and acts as a modification of what Will Self envisages as “Dylan Time” or, a mode of expression “in which thought and action are rendered concurrently - not in anything like stream of consciousness, but as a single gestalt …, whereby ontological judgment is suspended in order to achieve a sense of ontological freedom” (Self in Corcoran 2002, p. xii). This effect is further complicated by the artist’s strong cultural presence and his mutable and unpredictable qualities. Whether we like it or not, the more one starts digging into the vast reservoir of popular culture, the more overarching an influence and pervasive presence Dylan turns out to be. This partly contrasts his mythologised status, further undermined by his ability to remain amorphous and not really easy to pin down. Always capable of covering the tracks behind his “true” self, he is often considered to be one of the first really contemporary popular artists benefiting, very early on, from the techniques of creating and controlling his self-image, whether to tease, taunt or deliberately deceive the media. That is why, despite the cultural saturation with numerous elements traceable to this one man, there is always this remainder, a sense of the changeable unknown – the thing about Dylan. There’s plenty of facts though. Born Robert Allen Zimmerman in Du- luth, Minnesota, on 24 May 1941, he has remained as elusive as he was at the start of his career, offering ceaselessly engaging and continuously fascinating works to match his mysterious aura. Ironically, this seemingly local Jewish American boy from Midwest went global and came to be one of the most important and influential artists in post-war popular culture, all the while managing to remain a mystery. And all of this regardless of various efforts, valuable in their own right, to ar- rest his protean qualities: an exhaustive encyclopaedia, more than hun- dred thousand items collected in a vast archive in Tulsa, Oklahoma, and lest we forget, a fair amount of full-scale research (both academic and fan-generated) covering almost anything related to the man: biography, Introduction 3 music, literary and art pieces. One of the reasons for the continuous attraction is the growing, transformative quality of the artist himself – a quality which for more than half a century has allowed the appearance of multiple Dylans: Dylan the poet, the troubadour and the musician, Dylan the artist (painter, sculptor), Dylan the radio host, Dylan the actor, Dylan the imitator, Dylan …the unfathomable. This has also allowed him to continuously reinvent himself and follow old traditions but also rework and foster many new ones. As if in contrast to these multiple identities, the popular consciousness willingly harbours a very specific image of the 1960s Dylan whose protest songs came to be identified with the social dissent movements in the US at the time. It’s an image Dylan would quickly and deliberately dis- tance himself from, but, together with his lyrics, even this step resonated particularly well with the Civil-Rights and Anti-War protesters. Simi- larly, his words and music, together with the effect they created, were equally well received among the members of the Counterculture, despite their author’s reluctance to outwardly admit his involvement with psy- chedelia or the otherwise evident referencing of drug culture in some of his best-known tracks. Nevertheless, at the end of the decade, his distancing strategies topped people’s expectations when he didn’t par ticipate in the Woodstock festival, the biggest event of the era. Just like their author, Dylan’s songs live a life of their own. Filled with metaphorical, literary or philosophical remarks, they are often phrased in vexing poetical figures which would, similarly to the man himself, transcend the American locality only to become international anthems for people across the world, especially those living under various re- gimes, suffering unfreedom, injustice, but also experiencing emotional or spiritual turmoil. What the numbed contemporary sensitivities may fail to notice is the formal and thematical experimentation many of Dylan texts entailed. Although not outwardly hallucinatory, they were still mind-blowing in many other respects. They shared the contestatory impulses, so cherished by the Counterculture, while still managing to remain trendsetting; not to mention being covered by countless other artists. While the notion of greatness may well be a subjective marker based on socio-historical context, Dylan’s output has continuously been valued highly by subsequent generations, even if for different reasons. In this respect, like many “great” literary works, his texts might still require a bit more time to sink in, but when they do, there’s no turning back. You might think that much of his power rests on innovation – which is only partly true as such claims relegate his oeuvre to the historical domain of the past – but Dylan “works” also today (my students are invariably amazed how fresh and universal many of his lyrics sound). To be sure, Dylan is famously acknowledged as the person responsible for introducing electric, i.e. rock, sound to folk framing (Bring it All Back 4 Tymon Adamczewski Home [1965]). Yet, he was equally in charge of bursting the confines of a three-minute pop single with the renowned and much covered “Like a Rolling Stone” – a gripping six-minute tale of poverty, compassion and the grittiness rock and pop were to reverberate with for years to come. Content-wise, his was also the pivotal contribution to giving se- mantic weight to pop lyrics, making them mean and convey much more than simply being thrilled when “she loves you (yeah, yeah, yeah)” and when you “want to hold her hand”. Not that there is anything lack- ing in the Beatles’ lyrics (especially later ones). Alongside the Fab Four from Liverpool, Dylan belongs to artists whose modes of writing material would become gamechangers for the 1960s popular music and the industry’s future. In many ways, this resulted from the propensity of their lyrics to lend themselves particularly well to literary criticism, especially that many people at the time were eager to demonstrate how the terrain of popular culture was also an important and valuable one. Dylan’s role in giving shape and substance to such strategies cannot be overestimated. Interestingly, it was him and the Beatles who were among the firsttwent ieth-century artists actually writing their own lyrics, not so much as career strategy, but as a way of securing their own, already appropriated material (cf. Macdonald 2007). While this may be especially true in the case of the early Beatles, Dylan’s approach to the issue of appropriation is much more complex. It is an expression of affection which was best described in the title of his 2001 album entitled Love and Theft. This is probably why Gilles Deleuze was right in recognising him as “an astonishing producer rather than author” (Deleuze and Parnet 1987: 8), which also accounts for Dylan anticipating may of the pick- and-mix authoring tendencies in music and culture – also the staple of a fair share of contemporary cultural production. Dylan was certainly part and parcel of the globalising American popular culture during the revolutionary 1960s, but as much as being a member of the in-crowd, he always willingly strayed from the celebrity glamour and stardom. Independent, contradictory and taciturn in interviews, he managed to observe a degree of control over his mythologised status (mostly through jokes and ridicule). A quick glance at his discography plainly illustrates the ebb and flow of his stepping into the limelight. After the motorcycle accident in July 1966, for example, he backed away from the sight of the public to explore country music styles (John Wesley Harding [1967], Nashville Skyline [1969], New Morn- ing [1970]), only to resurface in the mid-1970s with such tour-de-force albums as Blood on the Tracks [1975] and Desire [1976]. The end of that decade saw him morph into a born-again Christian, witnessing a somewhat dwindling commercial interest in his records in the 1980s. This tendency certainly did not affect his fan-base, nor the support from major guitarists like Mark Knopfler Slow( Train Coming [1979], Introduction 5 Infidels [1983]). So, he came back yet again in the 1990s, this time with a vengeance (Time Out of Mind [1997]), and the new millennium saw him writing and producing some of his most heartfelt and powerful out- ings (Love and Theft [2001], Modern Times [2006], Together Through Life [2009] or Tempest [2012]). With more recent albums, however, he seems to have turned a full circle as he started exploring the Great American Songbook, Sinatra-oriented yet driven by a style of his own (Shadows in the Night [2015], Fallen Angels [2016], Triplicate [2017]). Surprisingly, this is the Tin Pan Alley repertoire his early output was an antithesis to. Throughout his long-lasting and prolific career, Dylan has remained a man in motion who actively toured world stages in various setups, col- laborating with various musicians (e.g. Travelling Wilburys, The Grate- ful Dead). Again, all this while selling millions of records and finding artistic expressions in activities like painting or welding. Having played many roles over this time – from a folk bard and social commentator, to a rock musician, music producer, actor, host of a radio show and a literary author – he also received an impressive number of awards, including honorary degrees from various universities, the Pulitzer (2008) or the Nobel Prize in Literature (2016), to name but a few. This last recognition was subject to particularly heated debates and caused much controversy, mostly because of venturing into the territory of literature. Contested and criticised by some on the grounds of being rooted in a rancid, elderly hippie nostalgia (Irvine Welsh), to others it was a logical and well-deserved achievement which only acknowledged what everyone else had known for a long time: Dylan’s works (together with the man himself) evade classification. The Nobel committee obviously recognised the timeless literary qualities of the poetic form prac- tised by the artist, but this, paradoxically, only confirmed the subjective character of the categories like high and low cultures, echoing claims like those of Bourdieu on taste hierarchy masking class hierarchy. More importantly, however, it cemented the fact that the very distinction between high and low cultures itself no longer applies. Although one may wonder about the weird timing of such an award – possibly stemming from the attention-deficit of the prize-givers – it remains clear that the literary qualities of Dylan’s work are as undeniable as they are problematic. It’s true that they have been the subject of academic interest almost from his early days and resulted in the emergence of several em- inent Dylanologists. Their readings – undoubtedly informed, insightful and detailed – repeatedly vary between a focus on the rich biographical perspective, an extrapolation of the intricacies of meaning or simply on giving vent to the experiences Dylan’s songs provoked. Notably, these tend to be accompanied by or fused with the memories of the critics and enthusiasts (often both being the same person). 6 Tymon Adamczewski While the biographical perspective allows for a useful arranging of the disparate facts and materials surrounding the long life of the man, there are many aspects of Dylan’s craft which indeed place his songs close to the traditional understanding of literature, not least to his folk story- telling roots. No wonder his ability to tell tales using literary devices, including metaphors, similes and other conventional traits associated with this mode, has attracted continuous academic attention from the scholars – it offered means of reading his verse as poetry. Despite being true and to the point, this qualification of Dylan’s works is frequently also problematised. As critics likewise demonstrate, looking at the words (or lyrics) on their own is not enough (cf. Day 1998, Heylin 2009). For the effect to be complete, they need to be accompanied by music. To be sure, outside the ivory tower of the academia, the regular people had their own means of “using” Dylan as well. Already in the 1985 Biograph release, Cameron Crowe penned a liner essay which recounts a personal story about a costume party where the theme involved everyo ne dressing up as a character from a Bob Dylan song. As he aptly comments, a cast of characters from a single song by Dylan, e.g. “Desolation Row”, is enough to illustrate not only the scope of cultural and literary references in the writer’s output, but also the scant list of such person- ages if one were to draw a similar listing for other popular artists at the time (cf. Crowe 2011[1985]). Remaining aware that not everyone would be up for a Dylan-themed fancy dress party, I believe that this story not only illustrates the most easily spotted literary connections his songs make, but also points to their intertextual qualities. More importantly, it shows the way his works live on and inform social practices of their audiences. The renewal of interest in Dylan following the Nobel Prize seems to go hand in hand with the impulses informing the literary perspective on his lyrics. It forces us to think through more complex aspects of the relationship between (pop) music and literature, aspects which go well beyond the mere literary name-dropping. Such a relationship shows how the ex- citing thing about Dylan and his production is actually the mutable quality they entail. After all, “Dylan Time” is predominantly temporal. This not only refers to his famous flair for changing lyrics, tempo and am- bience of songs in live performances, but even more importantly to the skill which singles him out from other rock stars – being able to stylishly “age in public” (Yaffe 2009: 24). This might be described as his capacity to simultaneously acknowledge the transformations that come with maturity, while remaining true to oneself as an artist. Curiously enough, the effect of his work is still there despite the transformations in the social and cultural contexts. His mercurial and multifaceted nature also refers to a certain disregard towards tradition and to the liberty from the rules, making Dylan into a truly rock artist who allows for recycling of his disparate material and his image. The time-defying literariness of Introduction 7 his songs can be noticed best when we compare Dylan with other major rock artists from the Rock Pantheon. Put Dylan side by side with Mick Jagger, for instance. It’s plain to see whose allure rests on the capacity of words to act as a rock power tool and whose performance centres on youthful vitality no one actually develops more with age. It’s not a fair comparison, I know. Both artists have their own undeniable input into music history and other admirable assets, but it is within this overlap between lyrics and literature in popular music that each other’s forte is made immediately visible. And so is the power of lyrics – a force which Dylan has perfected in exposing. While the mutable quality of a Dylan performance may certainly be attractive for concertgoers, what actually accounts for his importance is connected with the particular combination of word, sound and image. This is perhaps best illustrated when we look closely at the “suckcess” placard Dylan is holding up in his memorable scruffy video for “Subterranean Homesick Blues” in D.A. Pennebaker’s Don’t Look Back (1967) documentary. The wordplay accompanying the track from Dylan’s first electric album is surely associated with the beat generation criticism of a successful career path within the capitalist system. Yet, it also evokes the push-pull dynamics of the system literally sucking individuals into its machinery – a system the architects of which he ac- cuses in “Masters of War” and other songs of his early period. But the suckcesfull system is in operation even now. Expressed in the deliberate misspelling of the word, this must have had a spellbinding effect on its 1960s audience. Pretty much as it does now. The coinage is also symp- tomatic of precisely the way in which literature and reading can produce the feeling of immersion, of sucking us into its storyworld and making us forget the surrounding world or experience an epiphanic realisation about our being in it. As an effect, it is best described by what Nicholas Royle calls veering (2011), a term which indicates the motion of turning and spinning (fr. virer) but also of changing direction. It hints at a circumlocutory movement but which, etymologically, can be also found in the word for sur- roundings (environment), as well as in other informative cognates, like revolt or revolution. To be sure, Dylan caused many things to veer when he offered the soundtrack to revolutionary changes, not only because any vinyl label will tell you that 33⅓ RPM stands for “revolutions per minute”. Symptomatically, the veering movement of the rotating medium conveyed a fusion of music and words which went well beyond the phys- icality of the turntable, at the same time effecting the push-pull force of culture and politics. Royle sees literature in general as characterised by such an immersive experience, and like Dylan, he understands that what is encapsulated in this notion feeds on the linguistic and the philological – the love of words which may offer a certain disturbance (revolt) to the perception of reality. The revolutionary movement they follow is 8 Tymon Adamczewski not only a moment of change, but also a spiral, sweeping motion which affects more and more things along its way. Dylan’s works often themselves enact a similar veering, gyre-like movement and follow cyclical patterns, with “All Along the Watchtower” surely being the best-known example. To see veering in Dylan is also to view his works as harbour- ing multimodality, i.e. the ability of texts to convey meanings through various modes of communication. It is not simply related to him finding expressions in different media – from visual works, installations (welding), to radio shows or sound production – but also includes the very performative quality of his productions. This can be understood both in terms of his poetry as tied to its performance or delivery, and in terms of such time- and space-defying concepts like the 1970s Rolling Thunder Revue (2019) or The Never Ending Tour which started a decade later. Correspondingly, even the presence of Dylan’s face on his record sleeves is not driven by marketing purposes. Unlike in the early days of the music industry, it suggests the proximity and intimacy with the artist at the same time indicating the intellect as a source of the music and words. Yet, the lack of printed lyrics on many of the Dylan’s record sleeves can well contribute to the necessity of playing them over and over again as if to deliberately enact the veering, immersive experience offered by the sonic and material dimensions of the record itself. In this context, it is easy to see Bob Dylan as a revolutionary icon. Although, as any rubric, he detested this one as well. At least apart from that memorable time in his autobiography, Chronicles, Volume One, when speaking about how Picasso “was revolutionary”, he outwardly said, “I wanted to be like that” (Dylan 2004, 55). But then again, this is just a memoir and like an awful lot about Dylan, this particular thing doesn’t have to be true. What may be true, or at least believable however, is that Dylan and his works are in many ways revolutionary, precisely in the sense of revolving: they provide a cyclical return to past experiences – regardless of whether we mean individual first encounters with his music and words, or whether they are “generational” experiences of epochal, countercultural changes; they definitely offer a feeling of returning home and possess the ability to create a longing for one, in a manner similar to the more general longing for a return to the past. Yet, at the same time, they demonstrate a refusal to settle down and, recurrently, act to recognise the fixed nature of such constructs like identity. Instead, they privilege flux and offer a glimpse at the transitory nature of things. Since his texts map precisely this fluid state of affairs about the human condition, many find consolation in them and this is probably the most strongly visible trait about the relationship between Dylan’s fans and his oeuvre – a bond which is itself as iconic as the artist’s tousled 1960s image. This book is a result of a similarly unkempt but affectionate relationship. It originated from the first Polish conference on Bob Dylan, held Introduction 9 at Kazimierz Wielki University in Bydgoszcz, in May 2017, right after the news of the Nobel Prize (or as soon as the academic processes made it possible to happen). The event gathered several international scholars and fans from around the world eager to discuss the work of the artist. Like many academic meetings of this kind, it was, naturally, to be fol- lowed by a publication; yet, with so much content already available to anyone interested in the artist, there were some important questions that needed facing: What kind of approach to adopt? Which stages of Dylan’s career to focus on? One might even wonder why there would be a need for yet another book about him. That’s why this particular volume is slightly distinct from other ones of this sort, mostly because of the voices it includes and the critical perspectives its contributors adopt. Given his American origins as an artist, it comes as no surprise that the field of Dylanology has been widely dominated by Anglophone authors and the English-oriented context and perspective. The present collection aims to counterbalance this state of affairs by introducing a transna- tional American studies framework. It offers readings into geographical placing, with spatial and temporal peregrinations of the artist and his work contextualised in terms of problematising the past, marketing of the 1960s, or aspects like Counterculture and nostalgia. Apart from the commentaries on the many themes surrounding Dylan, the authors present differing yet always fascinating accounts of their individual experiences with the creations of this artist. They register the changes the man and his craft went through, and document the reception of his work outside the English-speaking world, including but not limited to Polish, Mexican and Italian cultures. Thus, even if not outwardly stated, particular chapters demonstrate the importance of Dylan from the situated positions of their authors. This allows not only to bring to light selected significant facets of an international perspective, but by centring on aspects like identity, translation, or music, film and literature, this collection also relates to audience and reception studies by permitting its authors to speak precisely about that what they find interesting in Dylan and which, in turn, may illuminate the (already familiar) facts. The editorial task of putting these chapters together was certainly as interesting as it was challenging. The writings gathered here encompass a range of insightful, inspiring and intriguing essays which tackle issues that still remain vital for Dylan studies – most notably, history, identity and culture. However, in place of a straightforward chronological ar- rangement, the decision was made to organise everything according to fairly general and more overarching subjects. Correspondingly, the contents are divided into three broad sections: Geographies, Receptions and Perspectives. While such a choice might have its thematic benefits for the reader in evoking a sense of coherence, it may also effect an artificial separation. Since such clear-cut distinctions are obviously at odds with the general spirit of Dylan’s compositions themselves (not to mention 10 Tymon Adamczewski that differentiations of that sort would probably be impossible), the in- tention behind the ordering of the content as it appears in the book was to evoke the similar impression to the veering, circumlocutory, sweeping motion that the artist’s works might be said to manifest. That is why each section includes a variety of contributions related to the general subject of a given thematic frame, but at the same time allows for the authors to go about their respective areas of interest in accordance with their own preference. In other words, even though the stories contained within this book may wander away into relatively distant aspects of the subject matter, in terms of both approach and the choice of material, the central thing for each one of them always remains the same – it’s all along Bob Dylan. The diversity this collection enacts corresponds to the multiplicity of the interests of the authors, all of whom come from various backgrounds and are at different stages of their academic careers. Remaining aware of the significant yet generally unrepresented female perspective on the artist, it is still striking how Dylan is frequently a subject for the audiences Irvine Welsh was referring to in his aforementioned comment. Contrastively, this work aims at incorporating a wider array of critical discourses and contains male and female voices alike, as well as both young and more seasoned critics. This choice might account for the interdisciplinary and methodological variety of the texts themselves, thus testifying to the inclusiveness and heterogeneity of Dylan’s themes and choice of subjects. Also, to reflect the liberty the music in question is undeniably about, the authors were not given any particularly specific directions what to write about. As a result, the topics and the approaches include a truly wide-ranging scope of themes and positions. From anthropology and personal accounts, through musical influence, to discourse analysis and literature – the contributions stand diverse in their methodologies and approaches but united in one goal: to demonstrate how Dylan can be seen today. Additionally, their readings also reveal what they pay attention to when it comes to such an iconic figure. The volume opens with Geographies, a section about time and space which illustrates how these two notions overlap in the case of Dylan. In his chapter, David Pichaske discusses the influence of topography and geographical origins of the artist’s poetics. The repertoire of linguistic expression, traceable to the local colour of Minnesota (home to both Pichaske and Dylan), stems from the ruggedness endemic to Ameri- can Midwest and resurfaces in his lyrics. Pinning down biographical and geographical references allows for a successful mapping of Dylan’s “youthful mental landscape” and the significance of the auditory dimension – a trait going much beyond the peculiarities of the regional linguistic variations. Although Minnesota shaped Dylan’s diction, poetics and mode of expression, it is in fact New York which served as a springboard for his career. Correspondingly, Marek Jeziński looks into Introduction 11 the notable 1961–1965 period in Dylan’s career, charting the time between the arrival in New York and him going electric. Applying anthro- pological framing of the theory of rites of passage to Dylan’s early career stages points to how the young artist made conscious choices about the shaping of the way he was to be received by the audiences. The list of places Dylan visited, venues he performed at, his influences and the people he met all contribute to the image of a talented man who, already in his twenties, in addition to being a gifted and self-aware artist was perfectly capable of his own myth-making (about his persona, his songs and their interpretations). The section closes with an intriguing piece by Stephen Dewsbury who is interested in how, despite such artistic control over his own mysterious image, Dylan ended up coated in a nostalgic glazing. Tackling the criticism of the Nobel Prize going to an overblown and an outdated 1960s American icon, the chapter draws on the artist’s very own ambivalence about the way his stardom was developing and the unwillingness of being turned into a relic. This is contrasted with a multi-million-dollar Dylan business, arousing even more curiosity in the light of the artist actually playing shows around the world which outwardly advertise the 1960s nostalgia (Poland 2014). The chapter also offers insight into the complexities of the notion of “home” within Dylan’s lyrics and in his physical wanderings which, Dewsbury argues, can be seen as indicative of the capitalist aspects of a nostalgic longing, as well as of the displacement and the constructed character of the notion of America in advertising expressed through collective symbolism and a problematic relationship with the past. The part entitled Receptions gathers writings which offer reflections of the varied responses to Dylan, focalised in places through the Polish context. It begins with an engaging contribution by Tadeusz Rachwał, who gives an account of the importance of orality and (Dylan’s) voice in his own experience of interacting with the original form in which the artist’s works were initially received by wider audiences – the music records. Starting with the communicative layers of the lyric-less record sleeve back in the times of Polish communist regime, the essay docu- ments a shared immersive experience of listening to Dylan through hear- ing a “voice unmediated by writing”. This testifies both to a long-lasting effect of the artist and to an important personal involvement with the lyrics and music consecutively pointing to another version of the “thing” about Dylan – namely that his mythical standing in the real world does not stem from a crystal-clear comprehension of his lyrics. Elements of Dylan’s “Polish” reception are further developed in the essay by Ag- nieszka Pantuchowicz, who studies the readings and interpretations of his lyrics in the context of what might be regarded as both the value and the bane of Dylan’s craft: the “disease of conceit”. The discussion of his approach to theft and borrowings from other authors in the context of translation allows for a tracing of various manipulations within 12 Tymon Adamczewski these processes. Even if the complex metaphorical poetics testify to his outstanding skills as a writer, whatever happens when Dylan takes textual originals and makes them into his own speaks even more about the general “inherently thievish nature of poetry”. Importantly, the artist’s craft lies not so much in the very fact of a seamless production of texts which have been rewritten, i.e. translated, but in how – through these (translation-like) practices – they have been opened for various inter- pretative possibilities. However, it is not only the texts or lyrics which can lend themselves to the procedures of rewriting. The practices of (re) inventing his own persona are subject to a thorough analysis in Jerzy Jarniewicz’s chapter, aptly entitled “Unwilling Icon of the Countercul- ture”. Dylan’s shape-shifting identity is seen here to typify one of the key tenets of the 1960s Counterculture: the constant change. His com- mitment to reinventing the song lyrics thus becomes an epitome for a continuous, undefinable project which, in Dylan’s case, becomes a ho- listic life-art venture infusing pop and rock lyrics with first rate poetry. While the founding gestures, like the invention of his name, may suggest a fusion of high and low cultures firmly marking his presence on the socio-political map of the turbulent decade, Dylan’s deliberate and conscious refusal to become monopolised by Counterculture may turn him into a truly dissenting figure. Despite his lyrics and music functioning as a vast reservoir of sources for reconstructing the dissenting impulses, paradoxically, some of their features also served as safety pins against lending themselves solely to such limited, political and historically situated readings. What they call for instead is a universal appeal of the timeless claim about one’s conscious participation in life and culture: autonomous critical thinking. The section closes with a contribution by Marcin Michalak who approaches the contemporary perception of Dylan’s through the lens of linguistics and Critical Discourse Analy- sis (CDA). This standpoint allows to survey people’s reactions to the news of Dylan being awarded the Nobel Prize in Literature as they were formulated in the comments section posted on popular Polish Internet sites. The article identifies Dylan as an important, if still controversial, political presence, especially problematic for the neo-conservatives. The public responses posted online, regardless of their contentious and often politically incorrect phrasing, document how the artist and his mythical presence is continuously able to stir up strong emotions. This does not only reveal him as a seminal cultural reference point outside the Ameri- can context, but speaks volumes about the culture, politics and zeitgeist of where such critical pronouncements are voiced. The final part is entitled Perspectives and illustrates various more specific outlooks on the artist and his works. It opens with Dariusz Pestka’s chapter, “The Dylanesque Confluence of the Multitude: From Bob Dylan Inspired to Bob Dylan the Inspirer”, offering a summary of Dylan’s enormous galvanising potential. Emotionally stirred himself by Introduction 13 a number of American folk singers-songwriters and motivated by the tradition they embodied, Dylan’s musical style encouraged countless covers, interpretations or even parodies. These texts testify to the fact that, both as a musician and a lyricist, the artist’s influence on his lis- teners and on contemporary culture is ultimately an on-going process – one which cannot be confined to a specific period or form. Importantly, these processes are also conditioned by the significant literary links within Dylan’s oeuvre and fortified by his collaborations with people like Jacques Levy or Daniel Lanois. In a similar vein, Bohdan Szklarski approaches Dylan’s early years and pits him against Bruce Springsteen, another seminal artist in American rock culture also inspired by the author of “The Times They are A-Changin’” and other momentous politically important songs. Drawing on the figure of the hometown, the chapter seeks to demonstrate how this concept functions to connote a feeling of freedom to imagine a particular moment in the time-space continuum. This, among other things, might explain why, as Szklar- ski claims, Dylan obtained more global recognition, while Springsteen remained mostly an American idol. One effect of such a comparison between these two musician-poets is that although much of the latter’s effectivity lies in evoking the specificity of the local and the particular (e.g. in terms of the political dimension), Dylan’s works seem to function perfectly even without such detailing. In contrast to the customary discussions of Dylan as an author seen predominantly through the lens of his music or cultural impact, Marlena Hetman proposes to focus on his cinematic links and offers an exploration of “Bob Dylan’s character(s) on screen”. Her chapter traces the artist’s involvement with the Amer- ican movie industry to expose the particularly Dylanesque qualities of the individuals he portrayed as well as the musician’s filmic charisma. Although Dylan’s contributions to cinema’s history have often been lam- basted by the critics for their artistic quality, the medium seems to be able to capture and reproduce the magnetic presence of the man. It is within this context that the essay asks important questions about Dylan’s cine- matographic portrayals and his stage personality – facets especially important in the light of his incessant role-playing in real life. Finally, the section concludes with a chapter on literary connections within Dylan’s texts, focusing on one particular European perspective. Giulio Carlo Pantalei offers a convincing and intricate reading of selected texts by the artist from the standpoint of their references and links to the Italian literary tradition. Although the essay attempts to reconstruct the songwriter’s imaginary landscape, instead of fishing out explicit mentioning of the literary production written in Dante’s language, the impact of Italian culture on the musician form Duluth allows for noticing Dylan’s pick-and-mix strategies which characterise his work and illustrate the literary process employed in writing. This results in an original blend of disparate discourses, traditions and media texts all working together to 14 Tymon Adamczewski contribute to the construction of the lyrics, the artist’s persona itself and the effects on the audience his productions are usually associated with. All Along Bob Dylan: America and the World is a collective effort and as such is indebted to numerous sources, certainly too many to list here. On my part, I would like to thank the authors for their contributions and unfailing dedication to committing their observations and ideas to a written form, so that their respective pieces could make up this book. I extend my gratitude to the reviewers and early readers of the various drafts of this work, as well as to the editorial team at Routledge involved in this project. If not explicitly indicated otherwise, the authors have used The Lyrics 1961–2012 (Dylan 2016) or the official exhaustive website bobdylan.com as the lyrics reference. Despite the heterogeneity of methodologies and opinions expressed in what follows, it is everybody’s firm belief that the essays contained within this collection contribute to the general state of Dylan studies as well as to enlightening the disparate ways in which this artist’s influence can still be experienced.

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Notes 1 Another strong testimony to such an influence can be found in “Blind Willie McTell” (written and recorded in 1983 but unreleased until 1991). 1 A “buggins” or a “buggins’s turn” is an idiomatic British term for the appointment of a person by rotation or promotion, on the basis of length of service rather than merit. 1 This dream was also reflected in Tomasz Sarnecki’s Solidarity Election Poster, urging Poles to vote for Solidarity candidates in the first free electoral campaign of 1989. The poster showed Gary Cooper from the High Noon movie with a Solidarity logo badge above the Sherriff’s Star. 2 Emmanuel Désveaux does not interpret this proper name in his article. Let me note here that it clearly reflects not only the innocent nature of Indians, but also Dylan’s wish of our remaining forever young, also strongly present in William Blake’s poetry. Blake, in his America, does not mention Bob Dylan, though the youth which appears in the poem is, perhaps like a teddy- bear, hairy. 1 “Be of the same mind one toward another. Mind not high things, but condescend to men of low estate. Be not wise in your own conceits” (Romans 12:16). “Answer a fool according to his folly, lest he be wise in his own conceit” (Proverbs 26:5). 2 “Thou givest thy mouth to evil, and thy tongue frameth deceit” (Psalm 50:19). 3 The translations of Bob Dylan’s lyrics which I briefly discuss below have been made by Martyna Jakubowicz and Filip Łobodziński. Both translators are also poets, singers and performers. Quotations in the text come from Martyna Jakubowicz’s album with her own translations of Dylan’s songs (Tylko Dylan [Only Dylan], Sony BMG, 2005) and from Filip Łobodziński’s annotated collection titled Duszny Kraj [A Stifling Country] (Biuro Liter- ackie 2017). 1 In the analysis of the negative variant of the Polish Internet discourse on Dylan, each quotation of this kind was provided with an identity tag con- taining a user’s nick placed by him/her as well as the first letter of the name of the portal it comes from: i – interia.pl, o – onet.pl, w – wp.pl. 2 The conservative camp is the currently populist party Law and Justice (Prawo i Sprawiedliwość – PiS), emphasising national, patriotic and Catholic values. It has a majority in the Polish government. The liberal camp belongs to the opposition and up to the election of 2019 was made up by the centrist parties, such as the Christian Democratic Civic Platform (Platforma Obywatelska – PO) and the liberal Modern Party (Nowoczesna), postulating the democracy in the Western style with a clear neoliberal bias in the economic sphere. The division into conservatives and liberals is not precise because many members of centrist parties have moderate conservative views. In the elections of October 2015, no leftist party/coalition crossed the 5/8 per cent electoral threshold. 1 In case of Dylan, the texts of songs follow the format published in Bob Dylan, The Lyrics 1961–2012, New York: Simon & Shuster, 2016. One can also use the comprehensive website Bobdylan.com. Springsteen’s lyrics can be found on the comprehensive online repository of song lyrics AZLyrics which contains all his 341 songs https://www.azlyrics.com/s/springsteen. html. 1 Italo Calvino (1923–1985) is one among the most important and frequently translated Italian authors, mainly known for his work on the Italian Re- sistance The Path to the Spider’s Nest, the trilogy Our Ancestors, as well as Mr Palomar and his metafictional novel If On a Winter’s Night a Trav- eler; Pier Paolo Pasolini (1922–1975), poet, novelist, director and commit- ted journalist, was one of the greatest Italian intellectuals of the twentieth century; Alberto Moravia (1907–1990) burst into Italian literary scene with Gli Indifferenti in 1929 becoming a major Italian novelist and columnist; Sergio Liberovici (1930–1991), Michele Straniero (1936–2000), Emilio Jona and Fausto Amodei were the founders of the musical and literary collective “Cantacronache” in 1957. 2 The San Remo Festival is the primary music festival and television variety show in Italy that has taken place every year in Liguria since 1951. 3 A work which however could be useful in itself from the point of view of “tradition and success of Italian Classics” – to borrow a title from Corrado Bologna – in the twentieth-century Anglophone art. 4 It was later rearranged and translated into Italian by Fabrizio de André, the great songwriter (It. cantautore) from Genoa, with the title “Via della povertà” in 1974. 5 The Phantom of the Opera (1910) is a renowned novel written by Gaston Leroux. 6 Dylan probably did not want to have the book published and eventually agreed just to stop the black market circulation of the cyclostyled manu- scripts that were smuggled in Greenwich Village first and then in the United Kingdom through 1967 to 1970 (Carrera, Pettinato in Dylan 2010, ed. 1971, 254–255). 7 Popeye is a widely known American cartoon and comic character created by Elzie Crisler Segar (1894–1938). 8 Guido Cavalcanti (1258–1300) was one of the most significant Italian poets of the Middle Ages and close friend of Dante; Thomas of Celano (1185–1265) was a Franciscan friar famous for being the author of the three-volume Saint Francis of Assisi. 9 Dante was banished from Florence in 1302. 10 For further information about Dylan’s changes of style and artistic personality, see David Dalton (2016). 11 Translation for the original Latin reads: “De crudelitate et pietate; et an sit melius amari quam timeri, vel e contra” or the Italian “Della crudeltà e pieta, e s’elli è meglio essere amato che temuto o più tosto temuto che amato” (Machiavelli 2011, 70).