Abstract
My concern is Nick Cave’s unceasing focus on death in nearly all its forms. Unlike the tendency to compartmentalize death in our (post)modern world, to sequester the elderly into compounds known as “retirement villages,” to block death through the frenzy of consuming commoditized trash, to separate death from life, and for rock singers to favor lust and love, in all its triumphs, frustrations, and disappointments, Cave is refreshingly if at times scandalously direct. In order to seek out the permutations of death in Cave’s work,1 I will distinguish between musical form and lyrical content, overlaying that distinction with another between death inflicted and death suffered. When we come to death suffered, we also draw closer to Cave’s own perceptions of death, with myriad reflections on individual death and, even more importantly for my purposes, collective death. Yet the story is not complete without a consideration of death overcome and what that means for Cave’s own continuous search for redemption. One final introductory observation: it is usually far easier, for obvious reasons, to focus on what happens before death, on our preparation for fear and terror of death—how do we face death? What are the social mores? Is it a part of life or divorced from life? What happens after death is of course an unknown zone, although that has not prevented more than a little speculation about what might happen on the other side of the door.
What is it to be so entwined in a culture of death?
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
See Jacques Attali, Noise: The Political Economy of Music (Minneapolis: University of Minnesota Press, 1985).
See Ernst Bloch, Zur Philosophie der Musik (Frankfurt am Main: Suhrkamp, 1974), p. 95 and Essays on the Philosophy of Music, trans. P. Palmer (Cambridge: Cambridge University Press, 1985), p. 114.
See Slavoj Žižek, “A Plea for Ethical Violence,” Bible and Critical Theory 1, no. 1 (2005), pp. 1–15.
See Max Horkheimer, Dawn and Decline: Notes 1926–1931 and 1950–1969, trans. M. Shaw (New York: Seabury, 1978), p. 211; Notizen, 1949–1969 in Gesammelte Schriften (Frankfurt am Main: Fischer Taschenbuch, 1991), 187– 425, p. 374.
Simon Hattenstone, “Old Nick,” The Guardian, February 28 (2008); We also find this tone in “Saint Huck” in From Her to Eternity (Cave 1984).
See Roland Boer, “Jesus of the Moon: Nick Cave’s Christology” in The Bible in/and Popular Culture: A Creative Encounter, ed. E. Wainwright and P. Culbertson (Atlanta: SBL Publications 2010), pp. 127–139.
See Roland Boer, Political Myth: On the Use and Abuse of Biblical Themes (Durham, NC: Duke University Press, 2009).
Editor information
Copyright information
© 2014 Mike Grimshaw
About this chapter
Cite this chapter
Boer, R. (2014). Nick Cave and Death. In: Grimshaw, M. (eds) The Counter-Narratives of Radical Theology and Popular Music. Radical Theologies. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137394118_11
Download citation
DOI: https://doi.org/10.1057/9781137394118_11
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-48381-5
Online ISBN: 978-1-137-39411-8
eBook Packages: Palgrave Religion & Philosophy CollectionPhilosophy and Religion (R0)