Hope in the Midst of Ruin: The Essential Modesty of Bruce Springsteen’s Urban Gothic

Abstract

THERE ARE DOZENS OF BOOKS AND HUNDREDS OF ARTICLES, interviews, and critical essays on the life and music of Bruce Springsteen. Few other contemporary popular musicians have been able to command such an impressive level of literary recognition from music critics and academics alike. A common theme in the criticism is the recognition that the music reflects a strong and abiding interest in social and political matters. Indeed, Springsteen’s entire career can be seen as an extended reflection and commentary on life in the United States. However, the work on Springsteen’s politics is surprisingly unimaginative and narrow in scope, especially considering the sheer volume of critical material available.¹ The orthodox position, largely unquestioned, is that the music attempts to draw attention to the plight of the poor and downtrodden in American society, and as such naturally constitutes an endorsement of left-wing political activism as the only morally acceptable response to the situation. In fact, in some of his public remarks over the past decade or so, Springsteen himself has lent some credence to this interpretation. It is no secret that he has become an outspoken supporter of the Democratic Party, as well a frequent contributor to a variety of charitable causes that most would categorize as “progressive.” Despite the considerable weight of this established view, it fails to capture the full range of interpretive possibilities. It is the purpose of this essay, therefore, to establish that the music contains, within it, a richer and more nuanced political meaning than has been conventionally assigned to it by listeners, critics, and journalists, and even the artist himself.