Bob Dylan's fugitive writings: selected poetry, prose, and playscript 1963-64
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The focus of this dissertation is Bob Dylan's other-than-song writings, particularly his fugitive writings- these being the poetry, prose, and playscript materials that have gone unpublished, or have been only fleetingly published, throughout his more than fifty-year career. Presented in it are two substantial instances and a number of supplementary examples that help to illuminate them. The selections comprise forty-seven sides of poetry and prose, and eighteen sides of playscript. Evidence suggests that most of these were typed and handwritten during the early to mid-1960s. Of the two instances, the largest selection of poetry and prose is found within a holding referred to as Margolis and Moss. A significant portion of it deals with a subject otherwise unaddressed directly in Dylan's authorially released efforts: the assassination of John F. Kennedy. The poetry and prose also focuses upon Dylan's university days, and upon themes of injustice, politics, and love. Within it, there are numerous connections to his lyrics and other-than-song writings, to his biography, and to history. While the examination is primarily contextual, considerations of register and overtone also allow for the exploration of literary and other kinds of sources. Margolis and Moss additionally includes the most extensive representation of Dylan's work on a playscript presently identified among his other-than-song material. Similarly connected to his larger body of writings and to his biography, it is also possible to consider within the script the potential influence of playwrights such as Eugene O'Neill, Jack Gelber, and others. The second focused-upon selection, referred to as Siggins, provides links to Dylan's documented interest in Irish balladry, to the lines of his lyrics of the early 1960s, and also to examples of his later work. Additional other-than-song and fugitive writings by Dylan are included in a separate section of the dissertation, helping to further contextualize what precedes them and to extend the scope of the examination beyond that of Margolis and Moss and Siggins. Supplementary apparatus clarify several problematic unauthorized transcriptions that precede this effort. An index is provided to assist future research into this largely unattended-to aspect of Dylan's career.
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