Bob Dylan's ways with words are a wonder, matched as they are with his music and verified by those voices of his. In response to the whole range of Dylan early and late (his songs of social conscience, of earthly love, of divine love, and of contemplation), this critical appreciation listens to Dylan's attentive genius, alive in the very words and their rewards.

"Fools they made a mock of sin." Dylan's is an art in which sins are laid bare (and resisted), virtues are valued (and manifested), and the graces brought home. The seven deadly sins, the four cardinal virtues (harder to remember?), and the three heavenly graces: these make up everybody's world — but Dylan's in particular. Or rather, his worlds, since human dealings of every kind are his for the artistic seizing. Pride is anatomized in "Like a Rolling Stone," Envy in "Positively 4th Street," Anger in "Only a Pawn in Their Game" ... But, hearteningly, Justice reclaims "Hattie Carroll," Fortitude "Blowin' in the Wind," Faith "Precious Angel," Hope "Forever Young," and Charity "Watered-Down Love."

In The New Yorker, Alex Ross wrote that "Ricks's writing on Dylan is the best there is. Unlike most rock critics — 'forty-year-olds talking to ten-year-olds,' Dylan has called them — he writes for adults." In the Times (London), Bryan Appleyard maintained that "Ricks, one of the most distinguished literary critics of our time, is almost the only writer to have applied serious literary intelligence to Dylan ... "

Dylan's countless listeners (and even the artist himself, who knows?) may agree with W.H. Auden that Ricks "is exactly the kind of critic every poet dreams of finding."

"Mr. Ricks's writing style is...witty, allusive, punning, digressive and free-ranging, darting off to make connections that are sometimes baffling but more often surprising and provocative." Charles McGrath, The New York Times

"Ricks's affectionate critical tour-de-force reminds readers why Dylan continues to encourage our 'hearts always to be joyful' and our 'songs always to be sung' as we remain 'forever young.'" Publishers Weekly

"[Ricks's] criticism is erudite and incisive, his writing witty and enjoyable, and his analysis broadened by comparisons to the poetry of canonical writers such as Eliot, Hopkins, and Larkin." Library Journal

"A diverting and occasionally revelatory stroll through a master's work, but one that will have a difficult time finding an audience." Kirkus Reviews

"Close reading, on close reading, turns out in Ricks's hands to be a lively sport, full of beguiling allusions, teasing asides and free philosophical musings, and bursting with groanworthy puns." Jonathan Lethem, The New York Times Book Review

On of the most distinguished literary critics of our time presents a scholarly, in-depth analysis of Bob Dylan's lyrics.

Christopher Ricks is a Warren Professor of the Humanities, codirector of the Editorial Institute at Boston University, and a member of the Association of Literary Scholars and Critics. He was formerly professor of English at the universities of Bristol and Cambridge.

Ricks is the author of Milton's Grand Style (1963), Tennyson (second edition, 1989), Keats and Embarrassment (1974), The Force of Poetry (1984), T.S. Eliot and Prejudice (1988), Beckett's Dying Words (1993), Essays in Appreciation (1996), Allusion to the Poets (2002), and Reviewery (2003). He is also the editor of Poems of Tennyson (second edition, 1987), The New Oxford Book of Victorian Verse (1987), A.E. Housman: Collected Poems and Selected Prose (1988), Inventions of the March Hare: Poems 1909?1917 by T.S. Eliot (1996), The Oxford Book of English Verse (1999), Selected Poems of James Henry (2002), and Decisions and Revisions in T.S. Eliot (2003).