Theologie in Moll

Die Flannery-O'Connor-Biographie auf dem Wunschzettel bekommt Gesellschaft:

Stephen J. Nichols: Getting the Blues: What Blues Music Teaches Us about Suffering and Salvation

"This book attempts a theology in a minor key, a theology that lingers, however uncomfortably, over Good Friday. It takes its cue from the blues, harmonizing narratives of Scripture with narratives of the Mississippi Delta, the land of cotton fields and Cyprus swamps and the moaning slide guitar. This is not a book by a musician, however, but by a theologian. And so I offer a theological interpretation of the blues. Cambridge theologian Jeremy Begbie has argued for music's intrinsic ability to teach theology. As an improvisation on Begbie's thesis, I take the blues to be intrinsically suited to teach a particular theology, a theology in a minor key. This is not to suggest that a theology in a minor key, or the blues for that matter, utterly sounds out despair like the torrents of a spinning hurricane. A theology in a minor key is no mere existential scream. In fact, a theology in a minor key sounds a rather hopeful melody. Good Friday yearns for Easter, and eventually Easter comes. Blues singers, even when groaning of the worst of times, know to cry out for mercy because they know that, despite appearances, Sunday's coming. . . . The blues, like the writings of Flannery O'Connor, need not mention him [Christ] in every line, or in every song, but he haunts the music just the same. At the end of the day, he serves as the resolution to the conflict churning throughout the blues, the conflict that keeps the music surging like the floodwaters of the Mississippi River."

Eine "Theologie in Moll mit ziemlich hoffnungsvoller Melodie" klingt dann ungefähr so wie hier Mississippi John Hurt mit "You got to walk that lonesome valley":