Others said the academy’s decision smacked of baby boomer nostalgia.
“I’m a Dylan fan, but this is an ill conceived nostalgia award wrenched from the rancid prostates of senile, gibbering hippies,” the Scottish novelist Irvine Welsh wrote on Twitter.
In some ways, it was a typical response to Mr. Dylan’s work, who throughout his career has been hailed as a brilliant stylist and innovator and yet faced occasional bafflement from critics.
Mr. Dylan emerged on the New York music scene in 1961 as an artist in the tradition of Woody Guthrie, singing protest songs and strumming an acoustic guitar in clubs and cafes in Greenwich Village. But from the start, Mr. Dylan stood out for dazzling lyrics and an oblique songwriting style that made him a source of fascination for artists and critics. In 1963, the folk group Peter, Paul and Mary reached No. 2 on the Billboard pop chart with a version of his song “Blowin’ in the Wind,” with ambiguous refrains that evoked Ecclesiastes.
Within a few years, Mr. Dylan was confounding the very notion of folk music, with ever more complex songs and moves toward a more rock ’n’ roll sound. In 1965, he played with an electric rock band at the Newport Folk Festival, provoking a backlash from folk purists who accused him of selling out.
After reports of a motorcycle accident in 1966 near his home in Woodstock, N.Y., Mr. Dylan withdrew further from public life but remained intensely fertile as a songwriter. His voluminous archives, showing his working process through thousands of pages of songwriting drafts, were acquired this year by institutions in Tulsa, Okla.
His 1975 album “Blood on the Tracks” was interpreted as a supremely powerful account of the breakdown of a relationship, but just four years later the Christian themes of “Slow Train Coming” divided critics. His most recent two albums were chestnuts of traditional pop that had been associated with Frank Sinatra.
Since 1988, Mr. Dylan has toured almost constantly, inspiring an unofficial name for his itinerary, the Never Ending Tour. Last weekend, he played the first of two performances at Desert Trip, a festival in Indio, Calif., that also featured the Rolling Stones, Paul McCartney and other stars of the 1960s.
Mr. Dylan, whose original name is Robert Allen Zimmerman, was born on May 24, 1941, in Duluth, Minn., and grew up in nearby Hibbing. He played in bands as a teenager, influenced by the folk musician Woody Guthrie, the authors of the Beat Generation and modernist poets.
In 1962, soon after arriving in New York, Mr. Dylan signed a contract with Columbia Records for his debut album, “Bob Dylan.” He was only 22 when he performed at the March on Washington for Jobs and Freedom, singing “When the Ship Comes In,” with Joan Baez, and “Only a Pawn in Their Game,” a retelling of the murder of the civil rights activist Medgar Evers, before the Rev. Dr. Martin Luther King Jr. delivered his “I Have a Dream” speech.
“As the ’60s wore on,” Giles Harvey wrote in The New York Review of Books in 2010, “Dylan grew increasingly frustrated with what he came to regard as the pious sloganeering and doctrinaire leftist politics of the folk milieu.” He “began writing a kind of visionary nonsense verse, in which the rough, ribald, lawless America of the country’s traditional folk music collided with a surreal ensemble of characters from history, literature, legend, the Bible, and many other places besides.”
Mr. Dylan’s many albums, which the Swedish Academy described as having “a tremendous impact on popular music,” include “Bringing It All Back Home” and “Highway 61 Revisited” (1965), “Blonde on Blonde” (1966), “Blood on the Tracks” (1975), “Oh Mercy” (1989), “Time Out Of Mind” (1997), “Love and Theft” (2001) and “Modern Times” (2006).
2-3
