Product Description

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

Product Details

• Amazon Sales Rank: #453156 in Books
• Published on: 2004-11-04
• Original language: English
• Binding: Paperback
• 528 pages

About the Author
Christopher Ricks is Professor of the Humanities at Boston University, and the Co-director of the Editorial Institute. He was formerly Professor of English at the universities of Cambridge and Bristol. He edited the standard edition of Tennyson, andthe unpublished poems of TS Eliot. His books include Milton's Grand Style and Keats and Embarrassment. He lives in Boston and, during the summer, in Gloucestershire.

Customer Reviews

The expected treatment from Professor Ricks
The reviews have been negative, but I, being an American university student, had already pre-ordered my book from this site, and, by the time i saw the reviews, could not change that. not that i would want to. I am acquainted with quite a lot of Dylan scholarship-- Michael Gray's "Song and Dance Man", various biographical treatments, as well as the multi-faceted "With the Poets and Professors" (Muldoon's poem makes the book worth it), as well as some other studies of the lyrics-- as well as some of Professor Rick's work (The Force of Poetry, Essays in Appreciation). Of course, I am a massive Dylan fan with over 100 discs in my collection. Aware of the forces that were about to collide in this book (Dylanology, serious literary scholarship, and Dylan's lyrics), I had some idea of the outcome. Perhaps that is why I am so much less disappointed (not disappointed at all, from what I have read) of the book than the reviews have been. Dylan's Lyrics, I believe, demand close-attention. Dylanologists seem, on the whole, quite poor at bringing this attention to the words. Whereas they assume Dylan's work is poetry, they make scarce efforts to demonstrate it's internal merits, too often bandying comparisons with Rimbaud, Keats, Ginsberg, Milton etc etc etc. Where they pay attention to Dylan as a man, to the historical contexts of the songs, and, sometimes (but barely) to the music itself-- and this they do typically in florid descriptions of instrumentation--they fail to bring a sole devotion to the lyrics themselves. Which is what must be done if Dylan's lyrics are to be considered literary, in any sense. Christopher Ricks, qualified more than all but a few others in the English speaking world to flip out cheap comparisons with the canon, does not do this. He treats Dylan's lyrics as literature by actually treating them. He stays with the words. With a wit, verve, and razor sharp mind that can sew as well as cut, he shows that Dylan says all that fans always knew he had to say, but couldn't manage to rationally point out. William Empson, one of Ricks' heroes, discussing mood, a feature of pop/rock music that many would consider its dominant appealing factor, says mood is worthless if it cannot be analyzed. Ricks shows that the unique mood Dylan established record after record stirs the stomachs of thousands of fans for a reason. Even if we don't know how to say what that reason is.
Reviews have complained that Ricks ignores the politics, the biography, the times, the music: but for readers of Christopher Ricks, this is not news. Ricks performs the task that somehow has been ignored when looking at Dylan, but which was the task that established so many literary figures as great before the advent of modern cultural studies: close-reading.

The book is a firecracker in itself: entertaining, bristiling with puns, shameless allusions, fantastic digressions and possibilities-- these all make it worth reading, Dylan fan or not.

What the negative reviews missed was that the book does what has not been done, and that Christopher Ricks, more than anyone writing criticism can do well, look eye to eye at the words of the songs.

Imaginative and Imaginary
Christopher Ricks is very well known for taking Dylan seriously as a poet and this is the long awaited product of many years of reflection. The basic idea of dealing with Dylan's corpus in terms of sins, virtues and graces is imaginative and promises a well structured and coherent work. Ricks' approach is clever and almost obsessive in searching for hidden meanings. It is the sort of obsession that Dylan himself finds futile and at which he frequently gets angry in interviews. There is great emphasis upon word-play and word association, and a great deal of reference to what a particular line in a song reminds the writer of in a poet like Shelley or Wordsworth. His approach, while very like that of Gray's, is much more sophisticated, but nevertheless slightly irritating at times because it says more about the cleverness of the author than it does about the subject of the book. The interpretations are idiosyncratic and largely imaginary, but nevertheless executed with grace and charm. I found Dylan and Cohen: Poets of Rock and Roll very clear in its criticism of this type of approach, which I think the author of it calls the concordance approach to literary criticism. Boucher explains why you just don't ask of some songs what they mean, such as Losing my Religion by REM or Whiter Shade of Pale by Procul Harem, you just 'delight' in the images. Nevertheless Ricks' book is a must for Dylan fans and well worth reading.

Christopher Ricks - Dylan Infatuated - Punned Out
Those who know Professor Ricks other works - and it is as impressive a canon as any Professor of Literature in the last 20 years - will be dismayed by the laddish interruptions that splatter this work such as denying that he has a fetish for a Dylan single because 'as everyone knows my fetish is Ladies shoes'.

Something was happening but I don't know what it was. A lazy editor or a professor too tangled up in Bob to be objective?

What a wasted opportunity!