Although usually categorized as a memoir, Bob Dylan’s Chronicles, Volume One, is better understood as a work of autobiographical fiction. Like James Joyce’s A Portrait of the Artist as a Young Man, Dylan uses a fictional avatar (referred to here as Young Goodman Dylan) to explore key junctures in his development as an artist. In the “New Morning” chapter of Chronicles, Dylan draws heavily upon the literary and musical trope of selling one’s soul to the Devil at the crossroads. Dylan the Chronicler depicts Young Goodman Dylan at a crossroads where he has to choose between collaborating with Archibald MacLeish on the diabolical play Scratch or remaining out of the public spotlight in an effort to protect his family. On the surface, this conflict is depicted as a battle of darkness versus light, with the Everyman figure choosing the path of light and family over the path of darkness and public reengagement. However, Dylan the Chronicler complicates this moral dilemma by equating darkness with truth in this case, and light with an abnegation of artistic responsibility. Elderly Dylan’s ambivalence toward his younger self’s decisions is epitomized in his underwhelming assessment of the album New Morning.
Herren, Graley, "Young Goodman Dylan: Chronicles at the Crossroads" (2020). Faculty Scholarship. 593.