When I saw that Dylan was being featured in the Little People Big Dreams series by Maria Isabel Sanchez Vegara I ordered it and was excited to see it, so it pains me to say I was disappointed to read it (but yes, still give it three stars, so stay tuned). Full disclosure: I am a huge Dylan fan and have seen him in every decade of my life (except the first). I have most of his music and have been reading his weird interviews and books about him for decades.
So I think Vegara, bless her positivity-filled heart, in doing this series which is so encouraging to young people and so beautiful and so fun, does not really know or get Dylan. I love the cover and the image of the young Dylan: Cute. I love the harmonica image theme throughout. I love the feel and energy in the art. But.
Nits: To say that Hibbing, Minnesota "wasn't very exciting for young Robert" presumes he had a boring, terrible childhood, which he did not. And it is insulting to people in small towns everywhere and to Hibbing in particular, however you might compare it to NYC. She further insults Hibbing by saying his early playing there was for "an audience that was easily pleased." In other words, they were "rubes," not gifted with a musical ear. Rural losers. Come on Isabel! Be nice!
Many people like to make fun of Dylan's voice. Vergara makes it clear what side she is on when she says of the young performing Dylan, "Bob sounded like a dog whose leg was caught in barbed wire." Ugh! You are clearly not a fan, Isabel!
If you acknowledge he was a gifted writer, include some of his lyrics maybe? Let us decide? Show, not tell, please. For most of this book he could be any musician. I am glad she includes references to his early work in civil rights and pacifism but she never mentions a single influential song, or career moment! But many people, she says, have covered his songs. . . wow! What songs? Why is that better than the content of even one song such as "Blowin' in the Wind"?
She's right that he was more a recluse than a showman, yet he has publically toured for more than five decades, so that irony should be apparent. I am glad she does recognize him as one of the great lyricists of all time, and acknowledges the range of styles and genres he has explored. And she talks of the intimacy of his writing, which is true. But all feels too generalized and abstract. We don't rea;;y see why he was special, as we often do in some of her better wriiten books in the series.
Of the appendix: He didn't go to the University of Minneapolis; it doesn't exist. Here she mentions a couple of influences, finally: Woody Guthrie and John Lee Hooker (whom she says Dylan "supported"). But no names in the actual text.
Okay, I give it three stars because it is lovely, very attractive, cute, and Dylan. And I support the series, to inspire young people to dream.