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“The girl with Bob Dylan on the cover of Freewheelin’ broke a forty-five-year silence with this affectionate and dignified recalling of a relationship doomed by Dylan’s growing fame.” –UNCUT magazine
Suze Rotolo chronicles her coming of age in Greenwich Village during the 1960s and the early days of the folk music explosion, when Bob Dylan was finding his voice and she was his muse.
A shy girl from Queens, Suze was the daughter of Italian working-class Communists, growing up at the dawn of the Cold War. It was the age of McCarthy and Suze was an outsider in her neighborhood and at school. She found solace in poetry, art, and music—and in Greenwich Village, where she encountered like-minded and politically active friends. One hot July day in 1961, Suze met Bob Dylan, then a rising musician, at a concert at Riverside Church. She was seventeen, he was twenty; they were both vibrant, curious, and inseparable. During the years they were together, Dylan transformed from an obscure folk singer into an uneasy spokesperson for a generation.
A Freewheelin’ Time is a hopeful, intimate memoir of a vital movement at its most creative. It captures the excitement of youth, the heartbreak of young love, and the struggles for a brighter future in a time when everything seemed possible.
- Sales Rank: #45190 in Books
- Brand: Brand: Broadway Books
- Published on: 2009-05-12
- Released on: 2009-05-12
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .85" w x 5.16" l, .65 pounds
- Binding: Paperback
- 384 pages
- Used Book in Good Condition
From Publishers Weekly
In July 1961, Rotolo, a shy 17-year-old from Queens, met an up-and-coming young folk singer named Bob Dylan at an all-day folk festival at Riverside Church in Manhattan, and her life changed forever. For the next few years, Suze and Bobby lived a freewheeling life amid the bohemians in the emerging folk scene in Greenwich Village. Rotolo offers brief glimpses of the denizens populating the new music scene below 14th Street in the early '60s and recalls the excitement as writers and musicians like Dylan wandered in and out of each other's lives and apartments, trading music and lyrics to produce a new sound that would change American music. Yet as the woman who's clutching Dylan's arm on the cover of his second album Freewheelin' Bob Dylan, Rotolo doesn't give us a very freewheelin' memoir. She offers shallow, almost schoolgirl-like reflections on the man she loved and lived with for three years. In a dull and plodding manner, Rotolo provides no new insights into Dylan, claiming, as have so many, that he is mysterious and enigmatic. In an excerpt from one of her journals, she writes ambivalently that she believes in his genius and that he is an extraordinary writer, but that she doesn't think he's an honorable person. (May)
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From Booklist
One of the most recognizable album-cover images of the 1960s shows a young man, underdressed for the winter in a light suede jacket, leaning into a young woman. Rotolo was that young woman, and in this uneven, overlong, still fascinating memoir, she tells the story behind that photo and her love for Bob Dylan. Rotolo met Dylan in 1961; she was 17, he 20. While Dylan is the bedrock of her memoir—without him, would there be a book?—he isn’t the whole story. Rotolo discusses her own background (Italian heritage, Communist parents, inability to fit in growing up in Queens, the craziness and sexism of the era), but the dominant setting is the Greenwich Village folk scene. In informal, conversational style, Rotolo recalls those who made that scene, many of them famous but none more so than the complicated Dylan. Given his formidable presence, Rotolo’s adamant refusal to be more than “a string on his guitar” in the book is admirable. The moments when she comes most alive in its pages are the most compelling. --June Sawyers
Review
"A delightful surprise . . . [Rotolo] gracefully captures Greenwich Village as an enchanted lost world." —Entertainment Weekly
"A portrait-of-an-era . . . through [Rotolo's] eyes, we see Dylan as a unique artist on his way to greatness." —People
"Artist Suze Rotolo pays rollicking homage to a revolutionary age." —Vogue
"Exhilarating . . . a moving account." —New York Times
"A perceptive, entertaining, and often touching book about a remarkable era in recent American cultural history, about a way of living, of making art, that couldn't have happened at any other time or in any other place." —Stephanie Zacharek, Salon
"Telling her own story more than Dylan's, Rotolo writes with the lightest touch . . . She makes her own textures, so what is left out doesn't feel as if it's missing, and what is left in maps the territory she wants to bring into view." —Griel Marcus, Interview
"Poignant . . . full of quick, deft sketches of key characters." —Guardian
“What a wonderful kid [Suze Rotolo] must have been—brave, openhearted, keenly observant and preternaturally wise, able to rise to the challenge of loving a genius like Bob Dylan and knowing when to let go. I'm glad I finally got to meet her in these pages.” —Joyce Johnson, author of Minor Characters
“Suze Rotolo digs hard and deep. Then she strolls, frets, and paints a gorgeous picture of a singular place and a time that was simpler but all tangled up. Best of all, she’s a natural writer who puts the beguiling voice, skeptical brow, shining eyes, and conductor’s hands I know right before you on the printed page. What’s her secret?” —Sean Wilentz
"A welcome, page-turning perspective conspicuously absent from the plethora of books on Dylan and the folk era of the 1960s: that of a woman witnessing it all from its cultural and political epicenter." —Todd Haynes, screenwriter and director of I’m Not There
“There have been a lot of books written about Greenwich Village in the sixties,and I've probably read all of them. What makes Suze's story so special is that she grew up in this neighborhood and she still lives here. She knows these crooked streets intimately, and they know her.” —Steve Earle
Most helpful customer reviews
2 of 2 people found the following review helpful.
i deeply connected with this story
By Jaw
i loved this book, getting to know the person in the songs and the relationship, i really liked Suze in reading this book, would've loved to know her, grateful for her sharing of her experience, she was a couple of years dead when i read it, i'm glad she wrote the story while she was still here.
Unlike some reviewers, for me, the book was a page turner and did not last long enough, even though i read it slowly and closely. The story is told with genuineness, as the person she is, not who other people want her to be. She's someone who knows how to be true to herself.
One of the most heart wrenching parts of the book for me was when she was about 14, her sister, Carla, moved out on her own, and Suze was left alone with their mother, who was an over the top alcoholic and rage-aholic. During that period, Suze endured brutal emotional abuse, the target of wild loud hate-filled rants from which she had no escape, as her tortured depressed mother blamed Suze for her unhappiness. Suze had some support from outside the home, family friends who knew what she was going through and let her come and stay with them for respite sometimes.
Like all people, her mother was a mixture and Suze took the best and tried to shut out the worst. Maybe this had something to do with her increasingly difficult reaction to the raucous and chaotic atmosphere involved in being Dylan's girl. She was his first love, and he was hers, their relationship lasted most of 4 years, which is a long time for any first relationship, much less one that had so little privacy, and so many amazing challenges to cope with.
Suze grew up lonely and often alone as a kid, she knew and adapted to solitude. She drew on her strengths to entertain and educate herself and to develop her creativity and to evolve her morals and values.
It was one of those stories where, even though i know how it's going to turn out, i couldn't help wishing for a different ending, for true first love to triumph and all romantic dreams to come true. The story gives context to Suze's rejection of the relationship with Dylan and moving on to do many other things with her life, in which she surrounded herself with a loving family of her own and continued to develop and exercise her own special talents. It's no wonder Dylan, and then her husband to be, fell in love with her. She has a simple and honest charisma.
She gives her experience of the Village at that intense exciting time in history. i had a feeling of her disconnectedness throughout, of an objective observer, keeping a self-protective distance. Clearly, she maintained a limit on the depth of feeling she shared for the most part, she shared what she was comfortable sharing, she shared the person that she shares with the world, drawing the boundaries she chooses to draw. It's a memoir, it's not an expose or tell-all kind of style.
0 of 0 people found the following review helpful.
Not just Dylan or the Village
By NYCity/Country
I learned of this memoir after Dylan received the Nobel Prize for poetry and was interested both because of him, but also because I spent a fair amount of time in the Village during the same era, being just a few years younger than Rotolo and Dylan. It wasn't what I expected (which was an opportunity to indulge in nostalgia). In many ways it is more important as it recollected the McCarthy Era, pre-feminist strictures, the evolution of folk music and the price of fame, both to the artist and those close to him/her. Rotolo, very much a deeply curious autodidact who did not do well in traditional educational settings, writes well and seemingly knowledgeably (one error I particularly noticed is that she referred to Theodore Reich as a psychologist rather than a psychiatrist and psychoanalyst). My major criticism of the book is that it didn't carry me along. My personal interest in the people and times kept me at it but there were times it felt a bit of a slog. Nonetheless, if you stick with it, I think you'll find it worthwhile if you have a general interest in Dylan, the early 60s in Greenwich Village.
1 of 1 people found the following review helpful.
A memorable memoir
By Russell J. Sanders
Of the many books about the sixties era I’ve read, Suze Rotolo’s memoir A Freewheelin’ Time is one of the best. For this is a woman who lived the spirit of the 1960s. As girlfriend to Bob Dylan, she was right in the middle of the Greenwich Village folkie movement. Her memoir is filled with stories that offer insight into how these people thought and felt while it is a wealth of modern history. Most importantly, Rotolo takes us inside a young man from Michigan who shook off his middle class beginnings to become the foremost poet of his time, perhaps the foremost poet of the twentieth century. Not only do we hear of their growing love for each other and its eventual demise, but we see the astonishment of a young woman who, by chance, became the cover of one of the most iconic record albums of all time, Dylan’s The Freewheelin’ Bob Dylan. At a time when album covers were skillfully and carefully designed, the photographer who did this famous shot just said, “Let’s go for a walk,” and on the walk, history was made. And Suze Rotolo is a part of that history and so much more of the history she relates in this engrossing book. She puts everything in perspective at the end: the sixties was a time when people were striving to make the world better by helping each other and sharing with each other; today, she says, people only ask, “What’s in it for me?”
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