Book Review: Religious Nuts, Political Fanatics: U2 in Theological Perspective

Religious Nuts, Political Fanatics: U2 in Theological Perspective by Robert Vagacs

My rating: 3 of 5 stars

I have the same feelings about this book that I have for the movie "Million Dollar Hotel" that Bono wrote and Wim Wenders directed. Great idea. Great setup. Not so hot with the execution.

Robert Vagacs is a theological student at the University of Toronto, and a huge U2 fan. This is true of his mentor, Brian Walsh as well. In the foreword, Walsh narrates his own experience of encountering God at a U2 concert. Walsh almost didn't go to the show, as the daughter of close friends lay in a hospital bed on the brink of death. But at the suggestion of one of his students, Walsh and friends decided to go to the concert anyway, feeling a little guilty at the prospect of enjoying such a spectacle of entertainment while their friends suffered just down the road at the hospital. What Walsh found at the concert, however, was not mere entertainment, but a worship experience. As U2 sang about life and love and death and pain, Walsh was intermittently transported to a place of lament and then prayer and ultimately to a place of joy and hope. This was no mere concert. It was a worship experience.

Unfortunately, Vagacs' writing cannot match that of Walsh, and thus the book goes down hill from there. Vagacs does an admirable job, however, of applying Walter Brueggeman's hermenuetical framework to the U2 catalog. Brueggeman (in Psalms and the Life of Faith) argues that one can see the Psalms through the lens of "orientation - disorientation - reorientation." "Psalms of orientation would include wisdom psalms where everything in creation is in order. God is sovereign, the righteous are blessed, and the wicked are dealt with according to their crimes (e.g., Psalms 104, 127, 128, 131, 133, 145)." Psalms of disorientation include psalms of lament (Psalms 88, 42, 44 among others). These psalms cry out in pain for the present circumstances and long for another time and place. And lastly there are psalms of reorientation. These picture not just a return to the "good old days," but picture a new, hopeful, and imaginative reality. What once was impossible is now possible: "Grace makes beauty out of ugly things."

This idea is not just a way to classify the psalms, but also a way to understand spiritual journey. For example, one can read the great Pilgrim's Progress through the lens of orientation - disorientation - reorientation. And, so argues Vagacs, you can understand U2's poetry through this lens as well.

Vagacs makes mention of U2's early work, but he really begins with The Joshua Tree. This is an album of orientation. This is protest poetry, giving the listener a clear picture of the world as U2 sees it -- the good, the bad, and the ugly. Songs like "Bullet the Blue Sky," "In God's Country," and "Mothers of the Disappeared" are both descriptive and offer critiques of Western culture (and particularly the United States). But there is also a longing for something more in the record, an eschatological quality. Bono sings about a longing for the kingdom of God to come in its fullness. This is something they have yet to see ("I Still Haven't Found What I'm Looking For") but expect to come ("Where the Streets Have No Name").

The 1990's were U2's period of disorientation. The trilogy of albums Achtung Baby, Zooropa, and Pop are much darker than U2's earlier work. The songs are filled with doom, gloom, irony and satire. Vagacs argues that in these albums U2 is describing the "Babylonian state of Zooropa." "Zooropa is the anti-matter of 'Where the Streets Have No Name'... [It] offers no fulfillment, no certainty, no hope, no compass, no map, no religion. Zooropa is hell on earth." "Love is Blindness" is a funeral procession, depicting the hopelessness of a loveless world. "The Wanderer" might serve as the archetypal song for all three albums. Bono sings of "a city without a soul, under an atomic sky, where the ground won't turn, and the rain it burns...Love is clockworks and cold steel." Vagacs explains, "This city robs its citizens of any semblance of community. Identity is comprised of slogans. This city is the opposite of 'Where the Streets Have No Name.' Instead of hope, there is consumerism. Instead of shalom, there is conformity. Instead of life, there is only numbness. Welcome to the new and improved Babylon...Welcome to the wasteland called Zooropa."

Zooropa leaves The Wanderer feeling less than human, as in "Numb" and "Lemon." And since there is little purpose or destination to his travels, self-indulgence seems to be the way to go in "Playboy Mansion" and "Mofo." But this ultimately leads to dissatisfaction and despair, questioning if God exists or, if He does, whether He cares in "Wake Up Dead Man."

Vagacs misses a great chance here to elaborate on this period of disorientation by analyzing the Zoo TV and Discoteque tours. He mentions them briefly, but a chapter talking about the gluttony of Zoo TV and the long hangover of Discoteque would have been appropriate. After all, the irony and humor of Bono singing "Desire" to himself in a mirror while wearing a gold suit, and dressing as MacPhisto and throwing copies of The Screwtape Letters into the crowd, and playing the part of Judas while singing "Until the End of the World" would really have bolstered Vagacs' argument.

Lastly, Vagacs places U2's next two albums, All That You Can't Leave Behind and How to Dismantle an Atomic Bomb in the category of reorientation. (The book came out before U2's most recent release, No Line on the Horizon). Vagacs cites Salmon Rushdie "recalling a meal in Bono's home in Killiney, south Dublin, when German film director Wim Wenders 'announced that artists must no longer use irony. Plain speaking, he argued, was necesary now. Communication should be direct, and anything that might create confusion should be eschewed.'" This is exactly what U2 did with their next two albums.

Bono himself has said that the theme of All That You Can't Leave Behind is "joy." And on the Elevation tour he shouts "It's all about soul!" What a contrast to move from "Wake Up Dead Man" to "Beautiful Day." The lyrics also intimate a move from "the wanderer" to "the sojourner." Now there is a destination. The cover art suggests this as the band stands at an airport in front of gate J33-3, a reference to Jeremiah 33:3 -- "Call to Me, and I will answer you, and I will tell you great and mighty things, which you do not know." Bono has referred to this verse as "God's telephone number."

"Walk On" speaks of the journey to a better place and "In a Little While" seems to answer the timing questions to songs like "I Still Haven't Found What I'm Looking For" and "40". "Vertigo" consciously juxtaposes the trials of Christ in the wilderness with the disorientation of life in this time, but both records ultimately are hopeful in God's providence and the coming of His kingdom ("All Because of You" and "Yahweh" are most obvious in making this point).

It's hard for me to admit that I didn't really like this book. Especially because I agree with Vagacs' premise, and I LOVE U2. But the book didn't do much for me. I found the book wanting because, after the first chapter, Vagacs mainly strings together U2 lyrics that seem to support his point. I was hoping for more than that. More reflection, more biographical sketches and anecdotes about the band, more engagement with their performances as well as their lyrics.

In some ways, this book suffers from the same deficiency as Mark Pinsky's The Gospel According to the Simpsons. The premise is good, but it is workman-like from thereon out. A book about The Simpsons ought to be more than descriptive. It ought to be funny. And Pinsky's book wasn't. And a book about U2's poetry ought to be more than insightful. It ought to be beautiful. And this book wasn't.

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