American Writers, Supplement XVIII by Jay Parini

By Jay Parini

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Putnam, George Haven. Memories of a Publisher, 1865– 1915. New York: G. P. Putnam, 1915. Shamir, Milette. Inexpressible Privacy: The Interior Life of Antebellum American Literature. Philadelphia: University of Pennsylvania Press, 2006. Taylor, Joshua. William Page, the American Titian. Chicago: University of Chicago Press, 1957. CRITICAL AND BIOGRAPHICAL STUDIES Tilton, Theodore. Sanctum Sanctorum; or, Proof-sheets from an Editor’s Table. New York: Sheldon, 1870. Browner, Stephanie P. ” PMLA 116, no.

He would not return to full public view until January 1974, when he launched his first large-scale tour since returning from Great Britain eight years earlier. The tour accompanied the release of a new album, Planet Waves. Momentum increased. Blood on the Tracks, appearing in January 1975, and The Basement Tapes, released in July of the same year, comprised yet another renewal for Bob Dylan, with many critics calling these his best albums to date—no matter that The Basement Tapes had been recorded almost a decade prior.

An important component of Dylan’s break from Baez was his increasing impatience with her faith, shared by folk audiences, that protest, and especially singing as a form of protest, could change the world. Close followers of Dylan could certainly have noticed in the body of his songwriting and in the matter of his public statements a long evolution of his priorities away from politics and protest—after all, as early as 1963 he was distancing himself in interviews from overtly political interpretations of songs like “A Hard Rain’s A-Gonna Fall”—yet it took his 1965 performance at Newport to force such a recognition.

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