Abstract
This essay examines David Crowder’s award-winning contemporary worship album A Collision using an expanded Burkeian toolkit. I show that it takes the romantic tendencies in contemporary worship to the end of the line, causing them to collide with carefully planned realism yet eliding the tragicomic social dimension of the gospel. Through purposeful incongruities, Crowder creates ironic awareness of faith’s paradoxes. Through linguistic reflexivity, he conveys his art’s inadequacy to divine worship. Yet A Collision’s romantic core endures, partly matured and tempered by these Burkeian moves. The album thus approaches, but does not arrive at, what Burke called the “poetic ideal.”
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