Well, this is interesting timing. For the last few years, I have been working on a book entitled Bob Dylan and the Stages of Existence. An outgrowth of my course “Bob Dylan and Theology,” which I have taught off and on at Villanova University, my book is an attempt to make philosophical and theological sense of Dylan’s career and songwriting corpus. In particular, I argue that Søren Kierkegaard’s existential thought is capable of shedding light on Dylan’s work. It is often assumed that Dylan’s willingness to evolve as an artist—from po-faced folkie to silver-tongued hipster to fire-breathing preacher, among other personae—represents an ironic embrace of Romantic creativity. This viewpoint was reified in Todd Haynes’ fascinating 2007 film I’m Not There:
Yet, as Sir Christopher Ricks argues, Dylan has also given indications over the years that his songs are significant—that they are intended to give expression to certain hopes, ideas, virtues, and even vices. Is it possible, then, to account for Ricks’ interpretation while allowing for the difference that Haynes celebrates? Here is where Kierkegaard comes into play. In works such as Either/Or (1843) and Stages on Life’s Way (1845), Kierkegaard suggests that living a human life falls into three overarching categories—the aesthetic, the ethical, and the religious. According to Kierkegaard, these “conditions of existence,” now widely referred to as “stages” or “spheres,” were meant to elucidate the costs and benefits of living in a particular way. Ultimately, he wanted to persuade his readers that the human self is most fully realized in faith, which is tantamount to being grounded in God. I think this framework can, among other things, account for why Dylan would adopt various personae while nevertheless consistently gesturing beyond himself to the transcendent.
Anyway: more on this topic in due course. In the meantime, it’s striking that just yesterday Dylan announced a forthcoming book entitled The Philosophy of Modern Song. Set to be released in November 2022, and featuring rock pioneers Little Richard, Alis Lesley, and Eddie Cochran on the cover, Dylan’s book is said to convey “his deep appreciation and understanding of songs, the people who bring those songs to life, and what songs mean to all of us.” It would be enough for Dylan just to release another book, since it has been nearly two decades since the release of his memoir Chronicles: Volume One. That his new book has the word “philosophy” in its title adds further layers of excitement and intrigue. It suggests that “modern song” is in some way bound up with the “love of wisdom” (philo + sophia) and, in good Kierkegaardian fashion, the pursuit of the examined life.
Bob Dylan, as quoted in Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese (2019): “If someone’s wearing a mask, he’s gonna tell you the truth. If he’s not wearing a mask, it’s highly unlikely.”
Can’t wait for the book.