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Moving beyond the biographical and journalistic approaches of most writing on Bruce Springsteen, Born in the U.S.A. was the first major work of cultural criticism to situate Springsteen’s work in the broader sweep of American history—the heir of Walt Whitman and Woody Guthrie, Abraham Lincoln and Martin Luther King. Springsteen is an influential chronicler of our society, says Jim Cullen, a “good conservative” who preserves the traditional values of hard work, inclusive families, and genuine concern for the less fortunate. In the new edition to this landmark work, Cullen also discusses new currents in Springsteen’s music since 9/11, notably his 2002 album The Rising. This Wesleyan edition includes a new foreword, introduction, and afterword. Must reading for any serious fan—or anyone who has ever been curious about what all the fuss has been about.
- Sales Rank: #1899641 in Books
- Brand: Brand: Wesleyan
- Published on: 2005-06-14
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .65" w x 5.51" l, .88 pounds
- Binding: Paperback
- 288 pages
- Used Book in Good Condition
From Booklist
There already exists a surfeit of Spingsteen books, but maybe this tome, arriving as he rapidly approaches spent-force status, is the cornerstone of a subgenre devoted to assessing his precise position in rock history. The issue of a former Rolling Stone editor, it displays the usual good and bad features of such spawn. Depth and documentation are excellent: quotes attributed, dates given, references traced. The writing is, uh, expressive. The typical RS tendency to find complexity everywhere is either a strength or a weakness, depending on your attitude; this time, at least, it is exercised relatively gently. No doubt Springsteen is a complex man; his lyrics and utterings suggest as much. But is he, as Cullen asserts, more important than Walt Whitman? Does he really offer "an unusually vivid picture of manhood" ? To those who enjoy this sort of minute intellectualization about a music that is often as much about rhythm as lyric content, Cullen's book is highly recommended. Other pop fans may find it valuable if occasionally numbing. Mike Tribby
From Kirkus Reviews
Cullen's study of Bruce Springsteen is a full-fledged cultural critique, examining how ``the Boss's'' music has been influenced by the society around him. The author covers a lot of ground but rarely spreads himself thin. Harvard historian Cullen's perspective is initially historic, using Reagan's evocation of the song of the title during his 1984 reelection bid. While Springsteen is no Republican, Cullen maintains that he is a ``republican'' in the Jeffersonian and Lincolnian sense of believing in the ideals of representative democracy. Widening his focus, Cullen follows the well-traveled link between American government and the works of Emerson, Twain, and Steinbeck to suggest Springsteen as the heir to this tradition. A close reading of the lyrics of ``Thunder Road'' serves as an example. Cullen treats Springsteen's relationship with the Vietnam War and its veterans (having lost a friend in the war, Springsteen deprived himself of sleep to earn a 4-F classification but has since worked extensively with veterans). More sociological sections of the book look at Springsteen's preoccupation with working-class values and his own strong work ethic, demonstrated by his legendary four- to five-hour live shows. The book's final sections look at Springsteen's development from a ``boy culture'' singer of male bonding to a mature husband and father--these latter roles brilliantly mined on his album Tunnel of Love--and the lapsed Catholicism of this self-described ``failed altar boy.'' Cullen quotes Jesuit novelist and sociologist Rev. Andrew Greeley, who claims that Tunnel of Love may be more significant from a Catholic perspective than a papal visit to the US. Cullen is perhaps overly idealistic in his historical depictions (Lincoln was certainly less of an egalitarian than Cullen would seem to believe), but his parting words, ``When I listen to Bruce Springsteen, I remember how to be an American,'' finally ring true. (8 pages b&w photo, not seen) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved.
Review
“Jim Cullen writes with authority and empathy about the blue-collar roots that shaped Bruce Springsteen and gave rise to his music of rebellion. This is a provocative look at one of America’s cultural icons.” —Eleanor Clift, Newsweek
“… offers illumination and thoughtful, discriminating observations about its myriad subjects. And it has aged almost as well as ‘Nebraska.’”—Eric Alterman, The Nation
“This is a well-written, painstakingly researched, and surprisingly unpretentious book.”—Asbury Park Press
Most helpful customer reviews
10 of 11 people found the following review helpful.
Interesting Interpretations
By A Customer
This is the kind of book that makes you think; sure, some of the conclusions are far fetched, but at least Jim Cullen offers an interesting and original perspective. Cullen firmly places Springsteen in an American tradition; puts the man and his music in a broader perspective, and he does this convincingly. The book is obviously a continuation of the article on Springsteen he published before, read this first. To say that his comparisons and his analyses are tenuous is easy; you really need to read the book carefully to be able to appreciate Cullen's interpretations, that is what they are, interpretations. Cullen doesn't seem to pretend otherwise and rightfully so because the assumptions he makes cannot be empirically proven, they don't have to be, art cannot be dissected mathematically. Therefore, if you are a more experienced reader, preferably in academic writings, AND a fan of Bruce Springsteen, this book is food for thought and well worth the money.
9 of 10 people found the following review helpful.
Highly Recommended
By ADAM DAVID
Whether you're a fan of springsteen's or a student of american history, this is a must-read. This book is by no means a biography, it is a study of his work and its' meaning and context. I have no idea what this fella from spain is talking about calling these essays overblown and that Cullen has no right to compare someone of springsteen's stature to whitman. Cullen does an excellent job of discussing his theses - two of the most intriguing being how springsteen's viewpoints on parenthood and women grow and mature throughout his body of work (how many other rock stars work have that degree of sophistication?). Well-written, well-executed, anove all, SMART. More books about like this - serious studies on a musician's work and not his/her life and lifestyle - should exist.
4 of 4 people found the following review helpful.
Promising and interesting, but a little too light.
By John H. Teeple
Both a recent convert to the Springsteen synod of the First Church of Rock n' Roll and a rogue scholar pursuing the aims of Deweyan democratic community, I have considered the possibility of a scholarly study of Bruce Springsteen's music. Such a study would consider (ideally) several themes: One, most importantly, is to situate Sprinsteen's music within a certain American literary and musical tradition; another is to present Springsteen's work as, in some respects, part of national dialogue on questions of citizenship, patriotism, manhood, etc.; yet another is to consider Springsteen's music as a sort of ethical practice, almost as an Aristotelian guide to character development. Jim Cullen's book, although it falls short of my ideal in many respects, does offer an interesting and, I think, ultimately compelling vision of the possibilities of scholarship on Springsteen.
Cullen's argument that Springsteen belongs to a literary tradition beginning with Walt Whitman, and including Mark Twain and John Steinbeck, is persuasive. Although his comparisons of these authors with Springsteen, both stylistic and thematic, are a little thin, the similarities are made evident. (One weakness of Cullen's argument is his failure to consider the most notable differences between Springsteen and Whitman, et al.) Springsteen's is an aesthetic of the everyday, offering a picture of lives and landscapes that form the stuff of life for most Americans, but are often overlooked (interestingly, by both conservative proponents of high modernism and and leftist supporters of avant-garde art). His stories are drawn from the very streets on which he grew and lived, from the events affecting his society, and from the plight of those left behind in the wake of society's progress ("The Ghost of Tom Joad" and "Nebraska" are most exemplary of this dimension of Springsteen's work -- having rather little to do with his own life). Thematically, this is the very stuff of Steinbeck and Whitman.
Cullen also makes an interesting case that Springsteen be seen as a proponent of American republicanism. (Not to be confused with the Reagan sort of Republicanism -- Springsteen is certainly not right-wing.) This is the political tradition to which Whitman, Lincoln, Martin Luther King, Jr., and (not mentioned by Cullen) John Dewey belong. It is a tradition which promotes and protects the rights of individuals, but always sees these individuals as members of a community. Springsteen's work, as a whole, it seems to me at least, in part traces a movement from individualism (consider the romantic idealism of Born to Run) to community (embodied in the group performance of "If I should fall behind" during the 1999 performance). His more recent work, "The Ghost of Tom Joad" and "The Rising" particularly, is concerned explicitly with the importance of community in the face of both internal and external challenges.
Overall, while Cullen's book does provide an interesting and compelling case for the 'serious' study of Springsteen's work, I think it does have a few significant flaws. For one, which I have already suggested, his comparisons of Springsteen with other literary figures are somewhat superficial. More detailed comparisons (involving, in part, more thorough examination of Springsteen's lyrics), even where this brings out the differences, would strengthen the argument. (In general, Cullen's presentation of the general historical and cultural settings of Springsteen and other artists is too superficial -- especially as compared with the studies in his other work on American popular culture.) For another, I think his analysis of Springsteen's political significance would benefit by a more individualistic interpretation (paired with his republican analysis). While I think it is true that Springsteen's political vision fits closely with that of Whitman, etc., it is also true that the direct impact of Springsteen's music (as is true of any art), is registered on the individual level. I believe that our moral identities are shaped, in large part, through identifications with various models, which may be culled from popular culture (among other sources, of course). Springsteen's music maintains a serious and generally consistent moral vision, and provides a model of moral character worth emulating. (This seems to be true of Springsteen the man as well.) And thus his music may actually serve as a valuable democratic resource.
This book is a fine read and a fairly unique interpretation of Springsteen's work. As an early serious effort to assess Springsteen's cultural and political significance it will of course have some problems, but these can be excused for the simple fact that so few other authors have tackled this subject in this manner.
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