![]() Instead, Wilentz focuses on certain points in Dylan’s career, with attention paid to the artist’s possible influences at these various stages and how they were reflected in his music, films (yes, there’s a chapter about Masked and Anonymous) and even his radio show and the first volume of Chronicles. Though the book is roughly arranged chronologically, it’s not a biography in the traditional sense. ![]() Wilentz’s study isn’t perfect, but it comes close. The lousy books still have their testimonials, true, but typically are cobbled together by a series of misleading ellipses or come from webzines that in a few years won’t exist. It’s a bit of comforting reassurance for the discerning Dylan reader, who likely from past experience has learned the hard way – after shelling out for a terrible biography or a striptease-titled tome that claims to explain the meanings behind every song – that not all Dylan books are created equal. The very first page of Bob Dylan In America is filled, front and back, with praise for Sean Wilentz from Dylan associates and otherwise recognizable names such as Philip Roth, Al Kooper and Martin Scorsese. ![]()
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