I like to check out the winners of the Nobel Prize for Literature. The world of books in our highly literate world is so vast that any pointers to quality oeuvres that speak of different histories is welcome. It is how I discovered Symborska and Transtormer and a few others.
You can imagine my shock then, late last year, when the Nobel Committee declared the 2016 winner to be the over-celebrated bard of the 60’s, Bob Dylan.
Shock grew to doubt about the Nobel’s claim to award distinctions, and then to searching questioning about what this meant about the culture. It was not the first unconventional choice by the committee. The year before a Russian journalist won the prize; but at least her deep testimonies of the experiences of post-communist Russia were unequivocally her own work, and she showed up to accept the prize.
Mr Dylan struck out on both counts. He did not go to his award ceremony. He had other commitments, a schedule full of the kind of unbreakable commitments made by aging rock celebrities. A rather sheepish American ambassador appeared in his stead, and duly read what she had to say was Mr Dylan’s speech.
But it gets worse. The Committee insisted that to claim the prize, and the substantial money attached, Mr Dylan must give an acceptance speech. So he did, a mere couple of days before the deadline, when he would have lost his cheque. But the aging rolling stone could not make it to Sweden; he posted his speech to YouTube, a 30 minute ramble about the great literary traditions from which he sprang, including Moby Dick.
Perhaps this is innovation? Perhaps it is a sly parody of formality from which he chooses to stand apart. Or perhaps it is lazy, arrogant and incompetent contempt.
On investigation it appears Mr Dylan was not capable of giving an authentic account of his literary craft, and too narcissistic to believe he would be found out for his failure. His speech contained dozens of sentences cribbed like a lackadaisical student directly from Spark Notes, that well known den of scholarly scoundrels. Andrea Pitzer at Slate makes the case, complete with laid out comparisons of Mr Dylan’s and Spark Notes texts on that US high school text, Moby Dick, and puts the compelling question: is the current Nobel Laureate a not very literary plagiarist?
So what does this mean for the culture? What does it tell us about the destructive flames of contemporary life that threaten to burn to the ground our precious archive of memory, history, tradition, literature and culture?
But perhaps I could speaking to the twisting nether, and ask this of the committee that awards the Nobel Prize: take the prize back from Mr Dylan’s slack and begging hands. It is time for Culture to mutiny against Mr Dylan’s bad language.