Photo by F. Antolin Hernandez via Wikimedia Commons.

Bob Dylan Won the Nobel Prize in Literature. Here’s What He Wrote About New Orleans

Bob Dylan, the influential singer-songwriter who was declared the voice of a generation on too many occasions to count, has been awarded the Nobel Prize in Literature. In its citation for the honor, the Swedish Academy noted that Dylan, “created new poetic expression within the great American song tradition.”

The decision marks the first time the award has been bestowed upon someone whose primary artistic output is musical. Past winners have all been writers in the traditional sense, from T.S. Eliot, William Butler Yeats and George Bernard Shaw to Ernest Hemingway, Pablo Neruda and Jean-Paul Sartre. It also marks the first time that an American has recieved the honor in 23 years, with the last being Toni Morrison in 1993.

While Dylan is best known for his varied—yet almost always beautiful—songwriting, he has proven himself to be a very capable writer in the traditional literary sense as well. Most New Orleanians, and other lovers of the Crescent City, are probably familiar with his line, “There are a lot of place I like, but I like New Orleans better.” It’s a sentiment shared by countless people in this town, but it’s only small part of a much larger passage on New Orleans from Dylan’s 2004 memoir, Chronicles, Volume One. Today seems like as good a day as any to take a look at the full passage, which captures the city’s glory in a way that few others could equal.

From Chronicles, Volume One:

“The first thing you notice about New Orleans are the burying grounds – the cemeteries – and they’re a cold proposition, one of the best things there are here. Going by, you try to be as quiet as possible, better to let them sleep. Greek, Roman, sepulchres- palatial mausoleums made to order, phantomesque, signs and symbols of hidden decay – ghosts of women and men who have sinned and who’ve died and are now living in tombs. The past doesn’t pass away so quickly here. You could be dead for a long time.

The ghosts race towards the light, you can almost hear the heavy breathing spirits, all determined to get somewhere. New Orleans, unlike a lot of those places you go back to and that don’t have the magic anymore, still has got it. Night can swallow you up, yet none of it touches you. Around any corner, there’s a promise of something daring and ideal and things are just getting going. There’s something obscenely joyful behind every door, either that or somebody crying with their head in their hands. A lazy rhythm looms in the dreamy air and the atmosphere pulsates with bygone duels, past-life romance, comrades requesting comrades to aid them in some way. You can’t see it, but you know it’s here. Somebody is always sinking. Everyone seems to be from some very old Southern families. Either that or a foreigner. I like the way it is.

There are a lot of places I like, but I like New Orleans better. There’s a thousand different angles at any moment. At any time you could run into a ritual honoring some vaguely known queen. Bluebloods, titled persons like crazy drunks, lean weakly against the walls and drag themselves through the gutter. Even they seem to have insights you might want to listen to. No action seems inappropriate here. The city is one very long poem. Gardens full of pansies, pink petunias, opiates. Flower-bedecked shrines, white myrtles, bougainvillea and purple oleander stimulate your senses, make you feel cool and clear inside.

Everything in New Orleans is a good idea. Bijou temple-type cottages and lyric cathedrals side by side. Houses and mansions, structures of wild grace. Italianate, Gothic, Romanesque, Greek Revival standing in a long line in the rain. Roman Catholic art. Sweeping front porches, turrets, cast-iron balconies, colonnades- 30-foot columns, gloriously beautiful- double pitched roofs, all the architecture of the whole wide world and it doesn’t move. All that and a town square where public executions took place. In New Orleans you could almost see other dimensions. There’s only one day at a time here, then it’s tonight and then tomorrow will be today again. Chronic melancholia hanging from the trees. You never get tired of it. After a while you start to feel like a ghost from one of the tombs, like you’re in a wax museum below crimson clouds. Spirit empire. Wealthy empire. One of Napoleon’s generals, Lallemaud, was said to have come here to check it out, looking for a place for his commander to seek refuge after Waterloo. He scouted around and left, said that here the devil is damned, just like everybody else, only worse. The devil comes here and sighs. New Orleans. Exquisite, old-fashioned. A great place to live vicariously. Nothing makes any difference and you never feel hurt, a great place to really hit on things. Somebody puts something in front of you here and you might as well drink it. Great place to be intimate or do nothing. A place to come and hope you’ll get smart – to feed pigeons looking for handouts”


  • redmeatandwhiskey

    The fact Dylan is now a Nobel Laureate, one would think, is enough. His grand, accurate and spiritual tribute to the Big Easy makes me proud to not only have always labeled him as the greatest American songwriter in my lifetime but I will continue to invite the masses to breakfast at Mother’s, lunch at Commander’s Palace, oysters at Acme, dinner at Delmonico’s, cocktails at the Erin Rose & late bourbons at Johnny White’s…before the am bus departs for Jazzfest.

  • Alan Smason

    And now New Orleans has a Nobel Laureate in its midst. I still have a promotional button from Columbia Records that bore a simple sketch of Dylan that read “Be different. He is.” Perhaps that is the reason he fits in so well with our culture and the peculiar institutions we cling to daily.

  • Stan Beyerman

    This is why cities don’t hire writers in their Chamber of Commerce offices!