The Fragile Absolute, or, Why is the Christian Legacy Worth Fighting For? by Slavoj Zizek

The rumor swept through my circle of friends like wildfire: Bob Dylan had been converted to Christianity (by Larry Norman, no less) and was going to release a religious album! This was many years before Christian rock became mainstream, with mega-hit bands like Creed. In the '70s, contemporary Christian music occupied a small ghetto in the entertainment world, stigmatized by its association with the inherent rebelliousness of rock-and-roll. Musicians like Norman, Keith Green and Phil Keaggy, however, helped many young evangelicals reconcile their cultural isolation from pop culture. My friends and I were desperate to have rock music affirm our faith, in part, I am sure, so that we could listen to it with a clean conscience. We even entertained reckless dreams that Dylan would ignite a renaissance of religious music as powerful as any pagan revelry.


This article is available to subscribers only. Please subscribe for full access—subscriptions begin at $2.95. Already have an online account? Log in now. Already a print subscriber? Create an online account for no additional cost.

This article is available to subscribers only.