One of America's most original and incisive critics of pop music and pop culture, Greil Marcus is the author of "Double Trouble," "Dead Elvis," "Lipstick Traces," and "Mystery Train." He lives in Berkeley, California.
"It is the speculative intelligence with which Marcus chases the
specters and wraiths of this country's musical past that emerges as
the exhilarating feat of [The Old, Weird America] . . . No previous
writer has so transportingly or authoritatively revealed Mr. Dylan
against receding vistas of American music and culture."--Robert
Polito, "The New York Times Book Review"
"The year's best work of criticism, hands down . . . Marcus draws
bold freehand loops around Dylan's music, loops so wide and loose
that they take in not just the breadth of American folk music, but
huge chunks of American history as well. This is the best kind of
history book, one that acknowledges that mythology is sometimes the
truest kind of fact."--Stephanie Zachareck, "Newsday"
"Marcus has always been set on discovering how much a performer can
bring to bear on his or her material, and how much a critic can
bring to bear on those performances . . . He offers his readers a
breathtaking sense of freedom."--Charles Taylor, "Salon"
"Nearly everyone will be dazed at one point or another along the
mystery trip that Marcus leads, because his desire is not to settle
your notions but to vaporize them . . . But Marcus knows where
Dylan is at all times, in his absence as well as his presence.
That's because, on the haunted back roads of ["The Old, Weird
America"], these two elusive old masters, tricksters both, have
fully met their match."--Anthony DeCurtis, " Rolling Stone"
"Chances are, twenty years from now, [this book] will stand as one
of the classics of American criticism."--Mikal Gilmore, "The
Observer" (London)
"His work is very likely the most imaginative criticism being done,
but it's more than that: It's a light in dark times."--Luc Sante,
"New York"
"Dylan once famously described folk music as 'nothing but mystery.'
Here the mystery is thoroughly explored and gloriously
deepened."--Ross Fortune, "Time Out" (London)
"A poetic encounter with the latent stories of America's manifest
dreams . . . Nonfiction novel of the year."--Graham Caverny,
"Arena"
ar"The wisest, funniest book about rock since Marcus's own 1975
"Mystery Train.""--Rob Sheffield, "Rolling Stone"
"Discussing such virtually unknown singers as Dock Bogs and
Clarence Ashley, Marcus lays out a thesis about the authority of
radical individualism in American culture. He finds in [their]
songs an idea of America as a place where what matters most is not
the distribution of goods or the regulation of morality, but rather
the way 'people plumb their souls and then present their
discoveries, their true selves, to others' . . . This is, in many
ways, his most subtle book. Marcus's love for the gnostic of
self-creation, of the idea of infinite possibility, is tempered
here by a profound awareness of the power of tradition, of the way
in which the new makes sense only because of, not despite, the
old."--James Surowiecki, " Boston Phoenix"
"Marcus finds in the 'Basement Tapes' an unfinished synthesis of
free speech and the shaggy-dog story, the two obsessions of [his
own] writing, and perhaps finally of American history."--Anthony
Miller," New City" (Chicago)
"We owe God a death, and Greil Marcus owed all God's children a
lifework on Bob Dylan. And here it is, one heaven of a book . . .
What Marcus brings to these songs is a variety of good things:
fierce fervor, social convictions, a loving discrimination, never a
touch of envy, and an extraordinary ability to evoke in words the
very feel (throaty, threatening, thorough, thick with thought) of a
man's voice, of this man's voice."--Christopher Ricks, " The
Guardian" (London)
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