If you don’t believe me, listen to “A Hard Rain’s A-Gonna Fall” again and see if you make sense of its twisting images. He started his career by transforming the issue-driven folk music of Woody Guthrie and Pete Seeger into murky, ambiguous poetry. He often works his way into something familiar in order to suddenly make it new or strange. Most people take the apocalypse as an article of faith, but what exactly the apocalypse entails is in the eye of the beholder. One follows Dylans restless transformations across six decades as a singer, a songwriter, a concert performer and a studio artist whos continually finding fresh ways of expressing and exploring the varieties of human experience, worldly and other, with music. That’s good company to keep, and Dylan shares with them the distinctive ability to break things brilliantly. Beginning with tracks recorded for his eponymous 1962 Columbia Records debut album, the Bob Dylan Complete Album Collection Vol. Auden and Chinua Achebe, just to name a few. This group includes James Joyce, Virginia Woolf, W.H. In claiming this prize, after all, he parted ways with the distinguished group of writers who have been infamously passed over by the Swedish committee. Still, even in celebration, I’ll confess to a few pangs of regret. There is little doubt that Bob Dylan, one of the 20th century’s most influential artists, deserved to win the Nobel Prize for Literature. Here, he weighs in on the recent controversy surrounding whether the songwriter/singer should have been awarded a Nobel Prize in this column written for the Tulsa World. Sean Latham, TU’s Pauline McFarlin Walter Professor of English and Comparative Literature, taught a course on Bob Dylan in spring 2016.