The Gospel According to America is not America's gospel as seen through the eyes of politicians, the ruling administration, talk radio, or even the population in general, whom Dark would probably expect to parrot any of the above sources, at least for the most part.
Rather, the "gospel" Dark refers to is the American vision as portrayed through its great authors, musicians, and filmmakers. Even beyond artists, anyone with a message which potentially subverts the louder, more popular messages may be included here, those who live artistic-like lives, people like Dr. Martin Luther King, Jr. and Dorothy Day.
I love this idea, but I can't say Dark presents his collage of examples in a way such that the details will stick with me. The volume of references and allusions is simply overwhelming. The individual chapters in this book don't have as narrow a focus as his first book, Everyday Apocalypse, had. In EA, each chapter had a clear thesis and a specific subject, and the thesis was supported by examples from a fairly narrow pool (the songs of Radiohead or the stories of Flannery O'Connor, for example).
In The Gospel According to America, there is basically one thesis, and each chapter explores a specific genre to illustrate Dark's point. A genre summary:
Chapter 2: an expansion on his thesis, with literature as a focus (Whitman, Ginsberg, Melville)
Chapter 3: literature (Hawthorne, Melville, Faulkner, and Pynchon)
Chapter 4: music (a plethora of references, of which Dylan, Wilco, Guthrie, Waits, and R.E.M. are a few)
Chapter 5: science fiction (Rod Serling (Twilight Zone), Philip K. Dick, Ursula K. Le Guin and others)
Chapter 6: movies (David Lynch, Kubrick, etc.)
Chapter 7: revolutionary lives (MLK, Dorothy Day, Will Campbell, and others)
Because Dark incorporates so many sources, the entire text seems to be constructed of a hodge-podge of quotes and references--even cliches. The truth is, some of Dark's sentences are so esoteric I can't imagine anyone enjoying this who doesn't get a majority of his references and allusions, and I wonder in some cases if it's even fair to call these allusions. At times, it seems a bit closer to plagiarism, as sources are often not mentioned directly, and only readers with the same knowledge will have any idea what he is alluding to. Yes, the pieces are all connected, but it feels Dark is shooting at his thesis with buckshot.
He hits it, of course. And as I've read the second half of the book, my appreciation for it has grown, mostly because his main points have become more and more clear: to claim a monopoly on truth or right action is a grievous error; beware of smug confidence in our own perspective and understanding; reach toward empathy; avoid a perspective filled with dichotomies; do not dismiss carelessly any dissenting, minority voice; and perhaps most important of all is Dark's subtle yet inherent plea: he who has ears to hear let him hear.
Update: reading this review five years after writing it, I can see two things I got right: 1) I truly don't remember any of the details from this book, and 2) my review is nonetheless useful to me, for I recognize the same themes listed in the previous paragraph in his subsequent publications, The Sacredness of Questioning Everything and Life's Too Short to Pretend You're Not Religious. This obsession with trying again and again to articulate a particular lens through which to view life and through which to maintain healthy personal awareness, growth, and critical thought about the world in which I live is something I really love about some authors (Vonnegut, Henri Nouwen, John Steinbeck, etc.), and Dark is solidly in this group for me. The reminders of how to live well are always inspiring and never come at the wrong time.