Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required.

  • Apple
  • Android
  • Windows Phone
  • Android

To get the free app, enter your email address or mobile phone number.

Have one to sell? Sell on Amazon
Flip to back Flip to front
Listen Playing... Paused   You're listening to a sample of the Audible audio edition.
Learn more
See this image

A Tremor of Bliss: Sex, Catholicism, and Rock 'n' Roll Paperback – August 17, 2010

1.3 out of 5 stars 3 customer reviews

See all 2 formats and editions Hide other formats and editions
New from Used from
"Please retry"
"Please retry"
$22.53 $0.01

Top 20 lists in Books
Top 20 lists in Books
View the top 20 best sellers of all time, the most reviewed books of all time and some of our editors' favorite picks. Learn more

Editorial Reviews

About the Author

MARK JUDGE is a journalist whose books include Damn Senators: My Grandfather and the Story of Washington’s Only World Series Championship and God and Man at Georgetown Prep: How I Became a Catholic Despite 20 Years of Catholic Schooling. His writing has appeared in the Washington Post, New York Times, Wall Street Journal, First Things, and the Weekly Standard.

Excerpt. © Reprinted by permission. All rights reserved.

Chapter One

   On St. Patrick’s Day 2006, the jazz singer and former divinity student Kurt Elling preached the theology of the body. The setting was the Strathmore Center, a resplendent $100 million concert hall outside Washington, D.C., and the sermon was in the form of song.
   About halfway through the concert, Elling performed the standard “My Foolish Heart.” It is a romantic ballad, full of the kind of imagery that goes with love—the nighttime, the moon, the erotic charge of lips. Halfway through the song, the band died down, providing only a slow and steady pulse behind Elling.
Then he sang a poem:

One dark night

Fired with love’s urgent longings
Clothed in sheer grace
I went out unseen
My house being now all still
On that dark night
Clothed in sheer grace
In darkness and concealed
My house being now all still
On that black night
In secret for no one saw me
With no other light as guide than the one that burned
in my heart
This guided me more surely than the light of noon
To where she waited for me
The one I knew so well
To the place where no one appeared
In the night
In the mystic night

   It was a passage from Saint John of the Cross. Elling was commingling the carnal charge of “My Foolish Heart” with the metaphysical passion of a sixteenth century Catholic Spanish mystic. The band was barely audible, and the space in the concert hall became charged with a sacramental, erotic energy. After several minutes, pianist Laurence Hobgood softly reintroduced the melody to “My Foolish Heart.” Elling sang—“There’s a line between love and fascination, it’s hard to see on an evening such as this.” The lyrics had returned to the pleasures of kisses and the fire of love, but the distance traveled between Saint John and the Great American Songbook was not far. The band charged back, and the audience of several thousand seemed to both sigh as one and applaud. They—we—had been seduced.
   In ten minutes Elling had made the point once made by John Paul II in four years of lectures: To the human person, love recalls the “echo” of our time before the Fall, and as such, our bodily love is an icon of the Trinitarian love of God.
   Elling had distilled to its essence The Theology of the Body. Based on a series of lectures given between 1979 and 1983 by John Paul II, the book is a theological Mount Everest, considered by most people— including Catholics—too intimidating to approach. Yet at its heart is a fairly simple idea—sex is participation in and a reflection of the love of God; therefore sex, and our bodies themselves, are very good things.
   This may seem like an obvious insight—sex has always been associated with the divine. But in the hands of the late pope it reaches remarkable poetic and theological depth. The Theology of the Body signaled a sexual revolution in the Catholic Church, one that is now even underway in the larger culture. But it is a revolution that has been more than one hundred years in the making. It is not, obviously, the sexual revolution of the 1960s and perhaps in the larger culture as well, with its shattering “free love” (which, as writer Stephen Catanzarite has pointed out, was neither). Nor is it exactly a conservative counterrevolution. Rather, it is the fulfillment of the thinking of Catholic intellectuals going back to the early twentieth century. These were defenders of sex as something good and holy, freely talking of orgasms and the language of the body at a time when most Catholics were discouraged from even thinking of such things. While their message never trickled down to Catholic schools or stormed the gates of the Vatican, it found powerful expression in the popular culture— particularly in the poetry of rock ’n’ roll music. And with John Paul II, it found validation. Now it could be the salvation for Western culture, which has gone sexually insane.
   For a time, I was part of that insanity. I was born in 1964 to Irish Catholic parents, and the closest I ever got to a sex talk from my parents was when I was about ten years old. At school I had overheard a teenager call someone a “prick.” The next morning, I padded out to the small garden in our backyard where my dad was weeding. “Dad,” I asked, “what’s a prick?”
   For a brief second, he hesitated, his sweaty hands hanging over the tulips. Then he simply started weeding again. It was as though he thought he heard a dog barking in the distance. 
   I asked again. “What’s a prick?”
   He weeded.
   “Dad,” I said again, stepping over the flowerbed so I could not be ignored. “What’s a prick?”
He looked at me. Then he gently took me by the shoulders and leaned in close. “It’s your penis,” he whispered. I felt myself blush. I knew what a penis was. It had to do with sex and we didn’t talk about sex. I backed away and retreated into the house while Dad tended to his garden.
   Yet my father was the furthest thing from a prude. A journalist and world traveler for National Geographic, Dad was brilliant, funny, and passionately loved my mother. The stories he would tell sometimes tended toward the ribald. Once when I pulled a groin muscle playing football, he noticed I was limping around the house. “Were you with a girl last night?” he whispered. I said no, that I had been playing football. “Uh-huh,” he said. A devout Catholic, he loved nature and once told my best friend and me that we were being silly when we laughed at two ducks having sex in the backyard. “Hey, it’s spring,” he said. To Dad, women were magical creatures. He would often become smitten with movie stars and never tired of ballads played by the big bands.
   He was, in short, anything but a repressive or hidebound man. Born in 1928, he was of the generation who simply did not talk to their kids about sex— because their parents had not talked to them about sex. We had to find out about sex from other places.
   In my case, I learned about love from rock ’n’ roll. I still remember the night I fell in love with the Beatles, which was shortly after I had fallen in love with Lisa, the girl next door. It was a hot summer night in 1970, and I was six years old. When I went to bed in our house in Maryland in those days, it was often to the sounds of my oldest brother Joe playing music in his room a few feet down the hall. One night, Joe put on A Hard Day’s Night, the soundtrack to the great Beatles film.
   Many people recall their first experience with the Beatles as cataclysmic, life changing, revolutionary. Like an atomic bomb, the Beatles supposedly destroyed everything that had once stood before, creating the future and a new landscape. Yet on that humid night in 1970, my six-year-old reaction was quite different. I didn’t think of war, revolution, my parents, or drugs. I thought of a girl. I thought of Lisa, who lived next door. I was in love with Lisa, and I found that love reflected back to me in the music of A Hard Day’s Night. In hearing “And I Love Her,” “I’m Happy Just to Dance With You,” and “If I Fell” from Joe’s room, my imagination took off.
   The Catholic theologian Fr. Paul M. Quay would later describe the sexual act as a woman opening herself up to a man, her giving of herself, and the man penetrating her with his very essence—put simply, their mutual self-giving—an expression of the love of God. Though I wasn’t remotely conscious of it at the time, John, Paul, George, and Ringo offered the same message. Like intense and very effective prayer, you could feel God in their sound—the happy bounce of “I Should Have Known Better”; the mystical, hopeful solemnity of “Things We Said Today”; the orgasmic cries of “When I Get Home.” In those brilliant notes, I saw Lisa and me dancing, laughing, kissing, being husband and wife. If this was revolutionary music, it was preaching a very old lesson: the power of love.
   I soon realized that love—and its loss—is the great theme of popular music, from Louis Armstrong right down to Justin Timberlake. Popular music was exploring the initial ecstasy Adam felt when he first saw “flesh of my flesh and bone of my bone.” Whether it was the Supremes declaring there ain’t no mountain high enough, the Beatles heralding the good news that she loves you, or Van Morrison whispering about a marvelous night for a moon dance, this great desire to return to our original union with God—including the conjugal union between Adam and Eve that preceded the Fall—is the urge that launched a thousand hits.
   Indeed, it is such a ubiquitous theme that it’s impossible to run through my favorite bands without coming face-to-face with it. The punk group the Replacements, my favorite band when I was in my twenties, have a song called “I Will Dare,” about working up the courage to meet a girl. The Allman Brothers sing of “Sweet Melissa.” The entire Motown canon, from Marvin Gaye to Stevie Wonder, is a joyful soundtrack of the quest for love—more specifically, the quest for the love of that one person you w...

Looking for the Audiobook Edition?
Tell us that you'd like this title to be produced as an audiobook, and we'll alert our colleagues at Audible.com. If you are the author or rights holder, let Audible help you produce the audiobook: Learn more at ACX.com.

Product Details

  • Paperback: 192 pages
  • Publisher: Doubleday Religion; 1 edition (August 17, 2010)
  • Language: English
  • ISBN-10: 0385519206
  • ISBN-13: 978-0385519205
  • Product Dimensions: 5.5 x 0.5 x 8.2 inches
  • Shipping Weight: 6.4 ounces
  • Average Customer Review: 1.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #2,749,848 in Books (See Top 100 in Books)

More About the Author

Discover books, learn about writers, read author blogs, and more.

Customer Reviews

5 star
4 star
3 star
2 star
1 star
See all 3 customer reviews
Share your thoughts with other customers

Top Customer Reviews

Format: Paperback
This book's failure is largely the result of Mark Judge's lack of an interesting point of view. Rock and Roll is a pretty well-worn subject, but this book (wrongly) promises a new spin on it -- a Catholic one. Unfortunately, the author knows little about Catholicism so this becomes just another half-baked book on a topic covered much better by other writers.

This book will disappoint Catholic readers (there's little in the book that represents a Catholic perspective) and it will disappoint non-Catholic ones as well (there's little here that adds to the field of rock criticism).

I rarely write one-star reviews, but this book and its title are such misrepresentations of the work's contents as to make me feel I wasn't just mislead when buying it, I was conned.
Comment 31 of 33 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Paperback
This book tries to tackle very worthwhile topics, and fumbles them pretty badly. I was looking forward to a nuanced take on the book's subtitle, "Sex, Catholicism, and Rock and Roll," and was subjected to pages long arguments with writers E.J. Dionne and Andrew Sullivan, with music criticism limited to a cursory mention of "Love" lyrics and a final mention of Lester Bangs and Van Morrison that ends the book abruptly. Huh? I'm in Mr. Judge's corner philosophically, but am disappointed in his book, a work that needed far more careful editing. The liberal use of quotations from other works makes for some interesting reading, but in short, the book is all over the place and better suited to another inconsistent series of blogs.
2 Comments 32 of 35 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Paperback
The standards for getting a book published are, in my experience, rather lower than most people think. That said, I still don't know how this one made the cut. I mean:

1. Badly written and organized? Check.
2. Racist? Check.
3. Boring? Check.
4. Full of inaccuracies and misstatements? Check.

I guess SOME books are needed to fill up the two dollar bin at Barnes and Noble. I award it one star, because amazon doesn't allow zero star reviews.
Comment 20 of 28 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Want to discover more products? Check out this page to see more: beatles music