On occasion at GetReligion, an essay crosses the threshold that evokes no disappointment or sense of incompletion. Eric Alterman — who writes an always provocative column for The Nation on why the mass media are too corporate, too conformist, too conservative — takes a different turn in “Bruce Springsteen Is Jew-ish,” posted Oct. 1 at The Atlantic.

The hyphen in the headline is not a mistake but a wry concession: Alterman does not argue that Springsteen, a son of 20th-century Catholicism in America, is really a Jew. The point is that he is a cultural ally who draws from Jewish scripture and history. 

Alterman’s essay is adapted from “Long Walk Home: Reflections on Bruce Springsteen” (Rutgers University Press), which also includes contributions by Martyn Joseph, Greil Marcus, Richard Russo and A.O. Scott.

This sort of writing may be familiar to journalists who take their faith and their rock music seriously. Back in the mid-1980s, I devoted a lot of time to landing an interview with a graduate student at DePaul University who was one of the first to observe Catholicism’s presence in Springsteen’s writing. A famous sociologist, novelist and priest — the Rev. Andrew Greeley — later wrote of Springsteen’s Catholic imagination, and the singer made his divided feelings about Catholicism more explicit in “Springsteen on Broadway.”

To his credit, Alterman acknowledges the uphill nature of his argument straight away:

Bruce Springsteen is the son of Catholic parents and grandparents. There is no ambiguity on this point. And yet, in much the same way that New York football fans have casually annexed the stadium across the river to root for what they like to pretend is their “home” team, some Jewish Springsteen fans are devoted to proving that New Jersey’s favorite Irish Italian son is, if not actually Jewish, nevertheless somehow Jew-ish. Perhaps you thought young Bruce was mostly singing about cars, girls, and getting the hell out of town before he switched gears to focus on the dignity of working folk, the broken promises of the American dream, and more cars and girls. But amid the empty factories, crowded barstools, and swimming holes that constitute the foundation of the Springsteen oeuvre, some detect a whiff of the Chosen.

What’s most refreshing in this piece by a pundit of the political left, writing about a musician of the political left, is the minimal degree of politics used when making this argument.