A brilliant listen, many thanks. It's always good to see Scott getting the deserved recognition after it being woefully slow to materialise in earlier times. Like yourself, Jim, I've followed Scott's work for a while and so I am familiar with much of this material but, as you say, there's still a "wow" factor even when you do know it. The Joyce Carol Oates things get me every time.
There was new stuff for me in the paintings dialogues, too.
Interviews are very important but I think you have to hear them to get what's going on. (I realise some this century are typed, not spoken, but when you can...) Larry Brown is quite important, I feel, too. In the Newsweek 1997 interview, Bob talks about him in the coffee break. (I tracked down the original audio and the microphone was left on when they broke for a drink - 'fortune favoured the bold' you might say).
I keep meaning to bring this comment up to Graley Herren in regards to his marvellous TOOM book. I will one day. You haven't heard anything from him have you? He writes so little that you hardly see his name ;-)
Sorry, I've wandered off point. Brilliant interview, fascinating subject, all power to your endeavours, Scott.
What a great conversation--thanks Jim and Scott! I'm reminded of that quote from James Joyce about Ulysses: "I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality." Challenge accepted! Scott has unwrapped more of Dylan's enigmas and solved more puzzles than anyone out there.
"Who is Dylan doing this for?" is such a good question. He must enjoy this intricate approach of constructing new work out of obscure shards and fragments. Maybe that's as far as it goes: the personal pleasure that comes from building "statues made of matchsticks." But I feel like it's more than that, not a private game for one, but a public invitation for others to play. The chess master sets up the pieces, now let's see who can play. Game on!
Artists often have a contentious relationship with annotators, but I like Robert Hunter's more inclusive approach. In his intro to David Dodd's The Complete Annotated Grateful Dead Lyrics, Hunter wrote: "There is more than one way to love a song." Amen! I love the way you love Dylan's songs, writings, visual art, and interviews, Scott.
I think of that same Joyce quote every time I encounter Scott’s research. Dylan’s enigmas are as rich and encyclopedic as Joyce’s—more so when you fold in the multiple genres he works in (painting, sculpture, unreliable memoir, film, even interviews) and the multiple studio and live versions of his songs. Plus, he has been around a hell of a lot longer than Joyce. (Oh, and has won a Nobel prize, which Joyce never did!)
A few weeks ago I saw an astonishing stage adaptation of Ulysses by the Elevator Repair Company at Bard College (strong recommend!), and I kept thinking about my interview with Scott, which I had recorded just before that.
Much, much to be done here…if only there were some scholars of both Joyce and Dylan! But where to find such a unicorn!
A brilliant listen, many thanks. It's always good to see Scott getting the deserved recognition after it being woefully slow to materialise in earlier times. Like yourself, Jim, I've followed Scott's work for a while and so I am familiar with much of this material but, as you say, there's still a "wow" factor even when you do know it. The Joyce Carol Oates things get me every time.
There was new stuff for me in the paintings dialogues, too.
Interviews are very important but I think you have to hear them to get what's going on. (I realise some this century are typed, not spoken, but when you can...) Larry Brown is quite important, I feel, too. In the Newsweek 1997 interview, Bob talks about him in the coffee break. (I tracked down the original audio and the microphone was left on when they broke for a drink - 'fortune favoured the bold' you might say).
I keep meaning to bring this comment up to Graley Herren in regards to his marvellous TOOM book. I will one day. You haven't heard anything from him have you? He writes so little that you hardly see his name ;-)
Sorry, I've wandered off point. Brilliant interview, fascinating subject, all power to your endeavours, Scott.
What a great conversation--thanks Jim and Scott! I'm reminded of that quote from James Joyce about Ulysses: "I've put in so many enigmas and puzzles that it will keep the professors busy for centuries arguing over what I meant, and that's the only way of insuring one's immortality." Challenge accepted! Scott has unwrapped more of Dylan's enigmas and solved more puzzles than anyone out there.
"Who is Dylan doing this for?" is such a good question. He must enjoy this intricate approach of constructing new work out of obscure shards and fragments. Maybe that's as far as it goes: the personal pleasure that comes from building "statues made of matchsticks." But I feel like it's more than that, not a private game for one, but a public invitation for others to play. The chess master sets up the pieces, now let's see who can play. Game on!
Artists often have a contentious relationship with annotators, but I like Robert Hunter's more inclusive approach. In his intro to David Dodd's The Complete Annotated Grateful Dead Lyrics, Hunter wrote: "There is more than one way to love a song." Amen! I love the way you love Dylan's songs, writings, visual art, and interviews, Scott.
I think of that same Joyce quote every time I encounter Scott’s research. Dylan’s enigmas are as rich and encyclopedic as Joyce’s—more so when you fold in the multiple genres he works in (painting, sculpture, unreliable memoir, film, even interviews) and the multiple studio and live versions of his songs. Plus, he has been around a hell of a lot longer than Joyce. (Oh, and has won a Nobel prize, which Joyce never did!)
A few weeks ago I saw an astonishing stage adaptation of Ulysses by the Elevator Repair Company at Bard College (strong recommend!), and I kept thinking about my interview with Scott, which I had recorded just before that.
Much, much to be done here…if only there were some scholars of both Joyce and Dylan! But where to find such a unicorn!
Ha! If such a unicorn could be captured, they'd make him director of the Dylan Institute. Oh wait....
Brilliant stuff, thanks!