In Dylan’s singer-song writing we can apprehend with hideous clarity the easy self-satisfaction of the protestor who thinks constructive engagement is for losers and phonies.
Above all, Dylan expresses our epoch’s celebration of the protraction of adolescence; a glorified refusal to be understood, because no one understands the real me.
So much modern art exists to perpetuate and celebrate our facile self-regard, but Dylan’s music oozes it. Its whole texture is shot through with its insufferable smugness, from its inexplicable contentment with a handful of inanely doodled rhymes and empty riddles, to the performer’s blatant refusal even to sing it properly.
His cracked vocal timbre, and habit of singing against the stress and flow of his own verses, so beloved of his millions of fans, articulates with breath-taking clarity the spirt of the adolescent’s stubborn refusal to realise his confused view of the world, and his place in it, is not a mark of genius but a waste of everybody else’s time.
Well, that is an opinion and we know that opinions are only theories.