Customer Reviews

Fire in My Bones: Transcendence and the Holy Spirit in African American Gospel (Contemporary Ethnography)

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This book is an excellent study of religious expression and gospel music in African-American congregations. Hinson takes his readers through an anniversary service for a gospel group while providing thorough and insightful descriptions of salient aspects of the context for the religious expression that he presents in this sensitive and articulate study. Although Hinson allows for a range of interpretations about what the participants are experiencing in religious devotion, he makes a strong argument that is too easily dismissed in academic research. Namely, rather than explaining away encounters with the supernatural as physical or psychological phenomena, the researcher will gain a different understanding of culture if he or she takes the claims of a believer as a valid starting point for ethnographic inquiry. Hinson suggests that experiencing divine presence provides a new way for readers to truly "understand" what he writes of in this book. I have attended countless gospel services, and Hinson's book provides an excellent resource for gaining a greater awareness of what I have seen as believers "have church." Hinson's methods, theories, and insights as a folklorist provides an incredibly rich and accurate way to complete ethnographic study. This book is also beautifully illustrated with the superb photography of Roland Freeman.

This examination of Afro-American gospel examines the gospel music program as a whole, considering how it works to join performer and audience, prayer and singing into part of the worship service and how Afro-American Christians have made gospel an integral part of their world. A fine in-depth examination of devotions and devotional services.

Although this study is situated within some african american communities in the Carolinas, it - rather than reading gospel as a "folk expression" - takes into account gospels deep involvement in the devotional life and christian experience of its "audiences" and "artists" (each concept here inapropriate within a more christian frame of referance). To acheive this the author Glenn Hinson (who's a folklorist/anthropologist) approaches christian onthology and epistemology in a more respectful way than what has been common in the social sciences. At least in order to understand the believers point of view (concerning gospel) one has to pay closer attention to their stories. Much space is therefore left to (nonreduced) extended citations from various interviews, live testemonies, prayers, sermons, songs, private conversaution and other sources. Hinson also deliberately shares with the readers from his own process of trying to understand, his own failures and ethical problems in the dual role as seeker/researcher. A very sympathetic book indeed, and a human achievement I hold in high regard.

Fire in My Bones is an examination of Afro-American gospel surveying the gospel music program as a whole, considering how it works to join performer and audience, prayer and singing into part of the worship service and how Afro-American Christians have made gospel an integral part of their world. Fire in My Bones is a fine in-depth examination of devotions and devotional services.

I have only started reading this book. But from what I have read it seems to be a good book. But I have one problem with it and that is the author of this book is writing from a white mans view of this experiences.