Arts & Entertainment

What Do We Want From Bob Dylan’s Story?

Books & the Arts
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January 13, 2025
James Mangold’s new Dylan biopic, A Complete Unknown, is suffused with unspecific nostalgia. Why does it feel familiar? What elements of the past is it conjuring for the present? The film, which stars Hollywood wonder waif Timothée Chalamet, is one “you might want to see as Dylan devotee,” Sam Adler-Bell writes in his review for our February issue but it “is also unsatisfying in a lot of other ways.” On the surface, the film shines: “The sets and costumes are period-appropriate; the lighting is cozy; the performances are plausible,” and the “music, which Chalamet performs competently, feels like an imperfect compromise between verisimilitude and the necessity of displaying Dylan’s artistry.” But what it misses about Dylan is what has always drawn so many of us to Bob: He made his music in defiance to the world around him; he absorbed its sounds; he remade its folk music; he hymned on imagined pasts and futures. But ultimately what drove Dylan was his refusal to let others own him: Whenever we began to put him in a box as an old-school folk singer, he insisted on going “electric.” He would go on to reinvent himself many more times, in the years the film does not catalog. “Art is a disagreement,” Dylan wrote in The Philosophy of Modern Song. “Money is an agreement.” The problem with “A Complete Unknown,” Adler-Bell notes, is it “is a highly agreeable movie.” Read “What Do We Want From Bob Dylan’s Story?”→
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Noam Chomsky is the most famous critic of US empire. No single living intellectual comes close. Indeed, as Daniel Bessner points out, “Chomsky is not just one of the most cited writers on the subject of US foreign relations; he’s that rare scholar who has made the leap from academia to popular culture.” In film, music, network TV sitcoms, he is referenced and name-dropped incessantly. If ordinary Americans know one intellectual it’s almost certainly Chomsky: Generations have read his works, which fiercely and forensically pick apart the horrors of American power abroad. But has his anti-imperialist politics changed over time? And what about its continuities still speak to our own age? In an essay-review of a new book by Chomsky and Nathan Robinson, Bessner examines the evolution of Chomsky’s anti-imperialist thinking and considers what core principles of his worldview still help explain the contemporary world. “Like almost all of Chomsky’s books,” Bessner writes of The Myth of American Idealism, “it fulfills the intellectual’s responsibility to speak the truth and to expose lies—including what Chomsky views as the biggest falsehood of them all: Americans’ naïve belief that their country is ‘committed to promoting democracy and human rights’ around the world.” But does it offer us a political vision to resist empire today—and in particular to capture and remake the American state? “If the left ever hopes to change US foreign policy,” writes Bessner, it will have to do more than just organize mass protests and resist propaganda. It will also need to develop an “understanding of how state power functions”—and one that cannot only critique empire from outside its halls of power but from within them too. Read “The Worlds of Noam Chomsky”→
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