A Modern Saint: Unpacking David Bowie's Spiritual Odyssey
David Bowie's untimely passing in 2016 sparked a familiar yet misguided narrative among fans, who mourned the loss of an era rather than recognizing the prophetic visionary that Bowie was. Peter Ormerod's new book, "David Bowie and the Search for Life, Death and God," is a masterful deconstruction of the artist's spiritual odyssey, which refracts through the prism of his music to reveal the messy, fragmented world we inhabit today.
Bowie's postmodern vision, born from a lifetime of navigating the wreckage of liberal ideals, foresaw the chaos and disorder that now defines our world. His internet-documented disaffection was not just a criticism of the medium but a prophecy of its destructive potential. In the 1960s, Bowie's fascination with Tibetan Buddhism and occultism hinted at a future where spirituality would be reduced to mere spectacle.
Ormerod's meticulous biography excels in its exploration of Bowie's spiritual precursors – from Anglicanism to Aleister Crowley – which underscores his role as a religious artist. However, it is the latter chapters, particularly those on "Heathen" and "The Next Day," where the author's prose gains momentum, yielding fine close readings that strip away the façade to reveal Bowie's oeuvre as an experiential text.
What sets Ormerod's book apart from earlier Bowie biographies is its nuanced understanding of the artist's concept of drive – a driving force both creative and existential. This idea underlies his music, which oscillates between yearning and isolation, expressing a deep vulnerability that coexists with a ferocious determination to survive.
Ormerod's compelling argument hinges on two fundamental sources: life and love. Bowie's answer to being asked about devotion? "Life." Love – both familial and existential – forms the core of his creative impulse, which navigates the void between despair and transcendence.
Throughout his work, Bowie perpetually invoked a form of apophaticism, one that acknowledges the limits of language and negation. This echoes the medieval Christian mystics who sought to annihilate the self in order to be reborn. In "I Can't Give Everything Away," Bowie's final song on Blackstar, we hear this existential tension between affirmation and negation – an elegiac meditation that encapsulates his life's work.
The author deftly illuminates the peculiar neo-medievalism at the heart of Bowie fandom, which has transformed him into a kind of modern saint. Rather than idolizing the artist, fans seek to emulate his rebellious spirit and yearning for transcendence. Ormerod himself becomes an apostate convert, joining the pilgrimage that now surrounds Bowie's legacy – an odyssey through his archive at the V&A East, which promises to unlock the secrets of this enigmatic saint.
Ultimately, "David Bowie and the Search for Life, Death and God" stands as a testament to the transformative power of art. In Bowie's music, we find a moving essence that is both deeply personal and universally human – an echo chamber where love, life, and death converge in a swirling vortex of creative energy.
David Bowie's untimely passing in 2016 sparked a familiar yet misguided narrative among fans, who mourned the loss of an era rather than recognizing the prophetic visionary that Bowie was. Peter Ormerod's new book, "David Bowie and the Search for Life, Death and God," is a masterful deconstruction of the artist's spiritual odyssey, which refracts through the prism of his music to reveal the messy, fragmented world we inhabit today.
Bowie's postmodern vision, born from a lifetime of navigating the wreckage of liberal ideals, foresaw the chaos and disorder that now defines our world. His internet-documented disaffection was not just a criticism of the medium but a prophecy of its destructive potential. In the 1960s, Bowie's fascination with Tibetan Buddhism and occultism hinted at a future where spirituality would be reduced to mere spectacle.
Ormerod's meticulous biography excels in its exploration of Bowie's spiritual precursors – from Anglicanism to Aleister Crowley – which underscores his role as a religious artist. However, it is the latter chapters, particularly those on "Heathen" and "The Next Day," where the author's prose gains momentum, yielding fine close readings that strip away the façade to reveal Bowie's oeuvre as an experiential text.
What sets Ormerod's book apart from earlier Bowie biographies is its nuanced understanding of the artist's concept of drive – a driving force both creative and existential. This idea underlies his music, which oscillates between yearning and isolation, expressing a deep vulnerability that coexists with a ferocious determination to survive.
Ormerod's compelling argument hinges on two fundamental sources: life and love. Bowie's answer to being asked about devotion? "Life." Love – both familial and existential – forms the core of his creative impulse, which navigates the void between despair and transcendence.
Throughout his work, Bowie perpetually invoked a form of apophaticism, one that acknowledges the limits of language and negation. This echoes the medieval Christian mystics who sought to annihilate the self in order to be reborn. In "I Can't Give Everything Away," Bowie's final song on Blackstar, we hear this existential tension between affirmation and negation – an elegiac meditation that encapsulates his life's work.
The author deftly illuminates the peculiar neo-medievalism at the heart of Bowie fandom, which has transformed him into a kind of modern saint. Rather than idolizing the artist, fans seek to emulate his rebellious spirit and yearning for transcendence. Ormerod himself becomes an apostate convert, joining the pilgrimage that now surrounds Bowie's legacy – an odyssey through his archive at the V&A East, which promises to unlock the secrets of this enigmatic saint.
Ultimately, "David Bowie and the Search for Life, Death and God" stands as a testament to the transformative power of art. In Bowie's music, we find a moving essence that is both deeply personal and universally human – an echo chamber where love, life, and death converge in a swirling vortex of creative energy.
. I mean, he was like this prophetic figure who predicted the chaos we're living in today 
. His exploration of spirituality and existentialism is still so relevant now 
. And I love how Ormerod breaks down his concept of "drive" - it's like Bowie's creative engine fueled by both vulnerability and determination 
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. It humanizes him in a way that makes you connect with him on a deeper level 
. And have you listened to "Blackstar" lately? That song is like the ultimate expression of Bowie's artistic vision 
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. I think it says a lot about his enduring legacy and impact on art and culture 
. Anyways, if you haven't read Ormerod's book yet, it's definitely worth checking out - it's like a masterful deconstruction of Bowie's spiritual odyssey 
!
. the fact that his music can evoke both vulnerability and ferocity at the same time is just so powerful 
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I think this book sounds like a total game changer for all you David Bowie fans out there! 
The author's deep dive into Bowie's spiritual journey is giving me all the feels - it's like they're speaking straight to my soul 
. I love how they're exploring the connection between Bowie's music and his existential search for meaning. It's crazy how his work can still feel so relevant today, even years after he passed away 
. This book is definitely on my radar now - who knows, maybe it'll be the next big thing in Bowie fandom? 
Like, Peter Ormerod's book says that Bowie's spiritual journey was all about navigating the messy world we live in, and I'm like "same, same". We've gotta question everything, just like Bowie did. The problem is, where are we gonna find that same rebellious spirit now? Is it gonna be online influencers or social media activism? 
I mean, Bowie's music was all about challenging the status quo and finding truth in the void. We need to figure out how to do that in our own lives, without getting caught up in spectacle and superficiality. And what's with this idolization of Bowie as a modern saint? 
. The author is saying that he wasn't just some eccentric, but someone who understood how our society would change over time and that's why we're still feeling the effects of his work today 
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. We're not just looking up to him as an artist, but as a symbol of rebellion and self-expression.
. I mean, calling him a "modern saint" feels a bit dramatic, don't you think? 
The book sounds interesting, but it's not like we didn't know Bowie was a visionary artist already 
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. His music did touch on some pretty deep themes, like existential crisis and the search for meaning 
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. I mean, who knew he was so into Tibetan Buddhism and occultism back in the 60s? It's wild to think he foresaw our modern world's obsession with spirituality as just a spectacle 
. I feel like we're all just pilgrims following in his footsteps, trying to find that same creative energy and sense of transcendence 
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. I mean, the guy was like a prophet or something, predicting the chaos we're living in today 
. Like, we're not just fans, we're pilgrims following in his footsteps 
. Thanks for sharing this insight into Bowie's world! 
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of modern society 
. He was all about exploring spirituality and existential crises, but also about trolling the idea of what's spiritual 
. speaking of which, have you seen that new exhibit on vogue magazine's archives? i heard it's totally worth checking out 
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I mean, some of his songs are pretty deep, like "Life on Mars" is kinda trippy... but I dont feel like he was trying to tell me anything profound