Peter Ormerod's 'David Bowie and the Search for Life, Death and God' is a masterful analysis that reframes our understanding of the enigmatic musician's oeuvre. By examining Bowie's fascination with mortality, spirituality, and social collapse, Ormerod uncovers a profound vision that echoes both the fragility of modern life and the enduring power of art.
Ormerod skillfully delves into Bowie's eclectic spiritual pursuits – from his Anglican upbringing to his later forays into Tibetan Buddhism and Aleister Crowley's occultism. The author expertly unpacks these influences, revealing how they inform and shape Bowie's music. This is particularly evident in the book's engaging chapters on 'Heathen,' 'The Next Day,' and 'Blackstar,' where Ormerod skillfully analyzes the artist's later work as a rich tapestry of texts waiting to be closely read.
One aspect that sets this book apart from other Bowie biographies is its nuanced exploration of drive – the elusive, all-consuming force that fuels creative expression. Ormerod astutely identifies the dual sources of this drive: life and love. Through Bowie's own words and music, we witness a compelling paradox: an artist whose work often conveys isolation and longing yet finds solace in the simple, human experiences of family and mortality.
A notable thread throughout Ormerod's analysis is the concept of apophaticism – the tendency to negate, deconstruct, or subvert certainties. This phenomenon is evident in Bowie's music, particularly in his final song, 'I Can't Give Everything Away,' which deftly balances despair with acceptance and surrender.
As we navigate this complex, fascinating landscape, it becomes clear that Ormerod has successfully converted many a fan – including the author – to a deeper appreciation of Bowie's art. The book reminds us that religion is not merely an external influence on art but rather its very essence. By embracing Bowie as 'text,' waiting to be read and interpreted, we discover the profound spirituality at the heart of his work.
Ultimately, Ormerod's 'David Bowie and the Search for Life, Death and God' is a testament to the enduring power of art to capture our deepest longings, contradictions, and mysteries. As we listen to Bowie's music once more – perhaps in a V&A East reliquary or amidst an unexpected pilgrimage – we are reminded that his art continues to inspire, provoke, and comfort us on our own journeys through life, death, and the search for meaning.
Ormerod skillfully delves into Bowie's eclectic spiritual pursuits – from his Anglican upbringing to his later forays into Tibetan Buddhism and Aleister Crowley's occultism. The author expertly unpacks these influences, revealing how they inform and shape Bowie's music. This is particularly evident in the book's engaging chapters on 'Heathen,' 'The Next Day,' and 'Blackstar,' where Ormerod skillfully analyzes the artist's later work as a rich tapestry of texts waiting to be closely read.
One aspect that sets this book apart from other Bowie biographies is its nuanced exploration of drive – the elusive, all-consuming force that fuels creative expression. Ormerod astutely identifies the dual sources of this drive: life and love. Through Bowie's own words and music, we witness a compelling paradox: an artist whose work often conveys isolation and longing yet finds solace in the simple, human experiences of family and mortality.
A notable thread throughout Ormerod's analysis is the concept of apophaticism – the tendency to negate, deconstruct, or subvert certainties. This phenomenon is evident in Bowie's music, particularly in his final song, 'I Can't Give Everything Away,' which deftly balances despair with acceptance and surrender.
As we navigate this complex, fascinating landscape, it becomes clear that Ormerod has successfully converted many a fan – including the author – to a deeper appreciation of Bowie's art. The book reminds us that religion is not merely an external influence on art but rather its very essence. By embracing Bowie as 'text,' waiting to be read and interpreted, we discover the profound spirituality at the heart of his work.
Ultimately, Ormerod's 'David Bowie and the Search for Life, Death and God' is a testament to the enduring power of art to capture our deepest longings, contradictions, and mysteries. As we listen to Bowie's music once more – perhaps in a V&A East reliquary or amidst an unexpected pilgrimage – we are reminded that his art continues to inspire, provoke, and comfort us on our own journeys through life, death, and the search for meaning.
the way the author breaks down bowie's life into these intricate spiritual threads is mind-blowing. its like he's showing us that even in our darkest moments, art can be a lifeline. and peter ormerod's analysis of drive - yeah, i totally feel it too 
life and love being the dual forces that fuel creativity... it makes so much sense.
! Peter Ormerod is like a total genius for breaking down Bowie's music in such depth. I mean, have you ever stopped to think about how much of his art is actually about mortality & spirituality? It's crazy! And I love how he explores the idea that drive comes from both life & love - it's like, so true for anyone who's ever created something amazing 
. The way Ormerod talks about apophaticism in Bowie's music is like, totally mind-blowing 
. And can we talk about how relatable it all is? Like, isn't that just what we're all searching for – meaning and connection amidst the chaos of life?
I'm not saying I didn't love this book, but I'm pretty sure Ormerod's analysis is like a masterclass in making you rewatch all of Bowie's movies just to get more context...anyway, I guess it's great that he's able to connect the dots between life, death, and art in a way that feels really profound? 
Still, I do have to give it up for Ormerod's nuanced exploration of apophaticism – it's like he's saying all the things we're too afraid to say out loud...in a nice, literary way.
. The author's argument that drive - whether fueled by life or love - is the spark that sets art ablaze is like a clarion call to anyone who's ever felt the itch to make something meaningful 
. But I gotta ask, isn't Ormerod's book just another example of how we're willing to pay good money for an expert to decipher our cultural icons? 
It raises questions about who gets to define what it means to be spiritual - the artists themselves or the critics and historians who analyze their work? 
And what does it say about us that we still need someone like Ormerod to guide us through Bowie's oeuvre, rather than just listening to the music for ourselves? 
David Bowie is like a puzzle that you can never quite figure out, but this book makes you see him in a whole new light. I loved how Ormerod breaks down his music into these intricate layers – the spirituality, the mortality, the drive to create... it's all so beautifully woven together 
.
. I mean, think about all the times you've been stuck on a project and just want to give up. That's drive, right? And Ormerod is saying it's all about finding balance - between life, love, and all those other human experiences.
! This book has given me a whole new appreciation for Bowie's art and the way it relates to our human experience. We need more books like this one - that make us think about what it means to be alive 
. It's like someone finally figured out what makes Bowie tick, you know? The author, Peter Ormerod, does an amazing job breaking down all these spiritual influences that had a huge impact on Bowie's music. Like, who knew his Anglican upbringing had so much to do with 'Heathen'? 
. Like, we've been reading his lyrics all these years, but now we can see they're actually trying to tell us something deeper about the human condition.
. Trust me, it's going to change how you listen to his music and think about art in general.
. And that concept of apophaticism? Mind blown 
! I never knew how much meaning was hidden in those songs... 
. The author's attempt to shoehorn apophaticism into Bowie's work feels like an overthinking of the obvious – we get it, Bowie was complex, but does that really justify this level of academia? 
I'll take a 'heathen' approach and just enjoy the music for what it is – not some overly intellectualized interpretation 
.