Bob Dylan’s New Book Is by Turns Brilliant, Nonsensical, and Misogynistic

Dylan focuses on records by women in a paltry four of his 66 chapters.

, explaining how he writes songs by “playing” old tunes obsessively in his head until they transmogrify into something new. Most chapters here unfold in two parts, an initial discourse in which Dylan riffs on what the song is about, and then a sidebar of sorts on the record’s background, artist, or other related themes. In the book’s best riff sections, you nearly witness that songwriting process in action.

At the least, the book makes for a hell of a mixtape. Within its limits, that is. Across picks from 1924 to 2003, but dominated by the 1950s of his youth, there’s lots of country, blues, soul, rock, and crooner pop, and a couple of nods to punk . Jazz is absent, despite Dylan’s professed love of Miles Davis. There’s also no rap, a form Dylan influenced via the likes of Gil Scott-Heron, and one whose tumbling verbiage he ought to appreciate. Instead, his passing references are dismissive.

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