‘I Is Someone Else’


by Bob Dylan
Scribner, 137 pp., $14.00 (paper)


Be careful what you wish for, the cliché goes. Having aspired from early youth to become stars, people who achieve that status suddenly find themselves imprisoned, unable to walk down the street without being importuned by strangers. The higher their name floats, the greater the levy imposed, the less of ordinary life they can enjoy. In his memoir, Bob Dylan never precisely articulates the ambition that brought him to New York City from northern Minnesota in 1961, maybe because it felt improbable even to him at the time. Nominally, he was angling for Leading Young Folksinger, which was a plausible goal then, when every college town had three or four coffeehouses and each one had its Hootenanny night, and when performers who wowed the crowds on that circuit went on to make records that sometimes sold in the thousands. But from the beginning Dylan had his sights set much higher: the world, glory, eternity—ambitions laughably incommensurate with the modest confines of American folk music. He got his wish, in spades. He achieved Leading Young Folksinger status almost immediately, then was quickly promoted to poet, oracle, conscience of his generation, and, in a lateral move, pop star.

Bob Dylan
Bob Dylan; drawing by David Levine

Each promotion was heavily taxed. In his song “Positively Fourth Street” you can hear his half of a recrimination match with one or more former Greenwich Village competitors, once resentful and now obsequious. (“Fame opens up, first, every irony back onto one’s past; one is abruptly valued by one’s friends. Then actual envy and malice are hard to ignore. It is difficult just to be watched. There is injury to one’s sense of rebellion….”—John Berryman on Stephen Crane.1 )

The year of booing he endured after he started going onstage with an amplified band in 1965 is a familiar tale. In Chronicles, which is apparently the first installment of a memoir told in chronologically shuffled vignettes, he revisits the period after his motorcycle crash in 1966, after he had withdrawn from live performance and had only issued one rather enigmatic record, John Wesley Harding, a year and a half later. His silence contributed to his mystique, and that in turn became the focus of a craving for direction and guidance on the part of beleaguered youth in that time of failed revolution. As a result,

Moochers showed up from as far away as California on pilgrimages. Goons were breaking into our place all hours of the night. At first, it was merely the nomadic homeless making illegal entry—seemed harmless enough, but then rogue radicals looking for the Prince of Protest began to arrive….

And a person named A. J. Weberman began going through the Dylan family’s garbage and subjecting it to exegesis. (“One night I went over D’s garbage just for old time’s sake and in an envelope separate from the rest of the trash there were five toothbrushes of various sizes and an unused…

This is exclusive content for subscribers only.
Get unlimited access to The New York Review for just $1 an issue!

View Offer

Continue reading this article, and thousands more from our archive, for the low introductory rate of just $1 an issue. Choose a Print, Digital, or All Access subscription.

If you are already a subscriber, please be sure you are logged in to your nybooks.com account.