Rolling Stone has excerpts of an interview Jann Wenner did with Bono. In the course of a ten hour discussion at Bono's vacation house on a Mexican beach they got around to talking about his religious views. Bono fans will find the whole article interesting, but his Christian fans will perhaps find the discussion of religion of most interest:
What role did religion play in your childhood?
I knew that we were different on our street because my mother was Protestant. And that she'd married a Catholic. At a time of strong sectarian feeling in the country, I knew that was special. We didn't go to the neighborhood schools -- we got on a bus. I picked up the courage they had to have had to follow through on their love.
Did you feel religious when you went to church?
Even then I prayed more outside of the church than inside. It gets back to the songs I was listening to; to me, they were prayers. "How many roads must a man walk down?" That wasn't a rhetorical question to me. It was addressed to God. It's a question I wanted to know the answer to, and I'm wondering, who do I ask that to? I'm not gonna ask a schoolteacher. When John Lennon sings, "Oh, my love/For the first time in my life/My eyes are wide open" -- these songs have an intimacy for me that's not just between people, I realize now, not just sexual intimacy. A spiritual intimacy.
Who is God to you at that point in your life?
I don't know. I would rarely be asking these questions inside the church. I see lovely nice people hanging out in a church. Occasionally, when I'm singing a hymn like . . . oh, if I can think of a good one . . . oh, "When I Survey the Wondrous Cross" or "Be Thou My Vision," something would stir inside of me. But, basically, religion left me cold.
Your early songs are about being confused, about trying to find spirituality at an age when most anybody else your age would be writing about girls and trouble.
Yeah. We sorta did it the other way around.
You skipped "I Want to Hold Your Hand," and you went right . . .
. . . Into the mystic. Van Morrison would be the inverse, in terms of the journey. It's this turbulent period at fifteen, sixteen, and the electrical storms that come at that age.
There was also my friend Guggi. His parents were not just Protestant, they were some obscure cult of Protestant. In America, it would be Pentecostal. His father was like a creature from the Old Testament. He spoke constantly of the Scriptures and had the sense that the end was nigh -- and to prepare for it.
You were living with his family?
Yes. I'd go to church with them too. Though myself and Guggi are laughing at the absurdity of some of this, the rhetoric is getting through to us. We don't realize it, but we're being immersed in the Holy Scriptures. That's what we took away from this: this rich language, these ancient tracts of wisdom.
So is that why you were writing such serious songs when you're nineteen?
Here's the strange bit: Most of the people that you grew up with in black music had a similar baptism of the spirit, right? The difference is that most of these performers felt they could not express their sexuality before God. They had to turn away. So rock & roll became backsliders' music. They were running away from God. But I never believed that. I never saw it as being a choice, an either/or thing.
You never saw rock & roll -- the so-called devil's music -- as incompatible with religion?
Look at the people who have formed my imagination. Bob Dylan. Nineteen seventy-six -- he's going through similar stuff. You buy Patti Smith: Horses -- "Jesus died for somebody's sins/But not mine . . ." And she turns Van Morrison's "Gloria" into liturgy. She's wrestling with these demons -- Catholicism in her case. Right the way through to Wave, where she's talking to the pope.
The music that really turns me on is either running toward God or away from God. Both recognize the pivot, that God is at the center of the jaunt. So the blues, on one hand -- running away; gospel, the Mighty Clouds of Joy -- running towards. And later you came to analyze it and figure it out.
The blues are like the Psalms of David. Here was this character, living in a cave, whose outbursts were as much criticism as praise. There's David singing, "Oh, God -- where are you when I need you?/You call yourself God?" And you go, this is the blues.
Both deal with the relationship with God. That's really it. I've since realized that anger with God is very valid. We wrote a song about that on the Pop album -- people were confused by it -- "Wake Up Dead Man": "Jesus, help me/I'm alone in this world/And a f****d-up world it is, too/Tell me, tell me the story /The one about eternity/And the way it's all gonna be/Wake up, dead man."
Soon after starting the band you joined a Bible-study group -- you and Larry and Edge -- called the Shalom. What brought that on?
We were doing street theater in Dublin, and we met some people who were madder than us. They were a kind of inner-city group living life like it was the first century A.D.
They were expectant of signs and wonders; lived a kind of early-church religion. It was a commune. People who had cash shared it. They were passionate, and they were funny, and they seemed to have no material desires. Their teaching of the Scriptures reminded me of those people whom I'd heard as a youngster with Guggi. I realize now, looking back, that it was just insatiable intellectual curiosity.
But it got a little too intense, as it always does; it became a bit of a holy huddle. And these people -- who are full of inspirational teaching and great ideas -- they pretended that our dress, the way we looked, didn't bother them. But very soon it appeared that was not the case. They started asking questions about the music we were listening to. Why are you wearing earrings? Why do you have a mohawk?
How did you end up leaving that?
I think we just went on tour.
And forgot to come back?
Well, we'd visit. If you were going to study the teaching, it demanded a rejection of the world. Even then we understood that you can't escape the world, wherever you go. Least of all in very intense religious meetings -- which can be more corrupt and more bent, in terms of the pressures they exert on people, than the outside forces.
What draws you so deeply to Martin Luther King?
So now -- cut to 1980. Irish rock group, who've been through the fire of a certain kind of revival, a Christian-type revival, go to America. Turn on the TV the night you arrive, and there's all these people talking from the Scriptures. But they're quite obviously raving lunatics.
Suddenly you go, what's this? And you change the channel. There's another one. You change the channel, and there's another secondhand-car salesman. You think, oh, my God. But their words sound so similar . . . to the words out of our mouths.
So what happens? You learn to shut up. You say, whoa, what's this going on? You go oddly still and quiet. If you talk like this around here, people will think you're one of those. And you realize that these are the traders -- as in t-r-a-d-e-r-s -- in the temple.
Until you get to the black church, and you see that they have similar ideas. But their religion seems to be involved in social justice; the fight for equality. And a Rolling Stone journalist, Jim Henke, who has believed in you more than anyone up to this point, hands you a book called Let the Trumpet Sound -- which is the biography of Dr. King. And it just changes your life.
Even though I'm a believer, I still find it really hard to be around other believers: They make me nervous, they make me twitch. I sorta watch my back. Except when I'm with the black church. I feel relaxed, feel at home; my kids -- I can take them there; there's singing, there's music.
What is your religious belief today? What is your concept of God?
If I could put it simply, I would say that I believe there's a force of love and logic in the world, a force of love and logic behind the universe. And I believe in the poetic genius of a creator who would choose to express such unfathomable power as a child born in "straw poverty"; i.e., the story of Christ makes sense to me.
How does it make sense?
As an artist, I see the poetry of it. It's so brilliant. That this scale of creation, and the unfathomable universe, should describe itself in such vulnerability, as a child. That is mind-blowing to me. I guess that would make me a Christian. Although I don't use the label, because it is so very hard to live up to. I feel like I'm the worst example of it, so I just kinda keep my mouth shut.
Do you pray or have any religious practices?
I try to take time out of every day, in prayer and meditation. I feel as at home in a Catholic cathedral as in a revival tent. I also have enormous respect for my friends who are atheists, most of whom are, and the courage it takes not to believe.
How big an influence is the Bible on your songwriting? How much do you draw on its imagery, its ideas?
It sustains me.
As a belief, or as a literary thing?
As a belief. These are hard subjects to talk about because you can sound like such a dickhead. I'm the sort of character who's got to have an anchor. I want to be around immovable objects. I want to build my house on a rock, because even if the waters are not high around the house, I'm going to bring back a storm. I have that in me. So it's sort of underpinning for me.
I don't read it as a historical book. I don't read it as, "Well, that's good advice." I let it speak to me in other ways. They call it the rhema. It's a hard word to translate from Greek, but it sort of means it changes in the moment you're in. It seems to do that for me.
You're saying it's a living thing?
It's a plumb line for me. In the Scriptures, it is self-described as a clear pool that you can see yourself in, to see where you're at, if you're still enough. I'm writing a poem at the moment called "The Pilgrim and His Lack of Progress." I'm not sure I'm the best advertisement for this stuff.
What do you think of the evangelical movement that we see in the United States now?
I'm wary of faith outside of actions. I'm wary of religiosity that ignores the wider world. In 2001, only seven percent of evangelicals polled felt it incumbent upon themselves to respond to the AIDS emergency. This appalled me. I asked for meetings with as many church leaders as would have them with me. I used my background in the Scriptures to speak to them about the so-called leprosy of our age and how I felt Christ would respond to it. And they had better get to it quickly, or they would be very much on the other side of what God was doing in the world.
Amazingly, they did respond. I couldn't believe it. It almost ruined it for me -- 'cause I love giving out about the church and Christianity. But they actually came through: Jesse Helms, you know, publicly repents for the way he thinks about AIDS.
I've started to see this community as a real resource in America. I have described them as "narrow-minded idealists." If you can widen the aperture of that idealism, these people want to change the world. They want their lives to have meaning. And it's one of the things that the Democratic Party has missed out on. You know, so much of the moral high ground in the past was Democratic: FDR, RFK, Cesar Chavez. Now I suppose it's Hillary's passion for cheaper medical care. And Teddy Kennedy, of course.
Teddy Kennedy? Teddy Kennedy occupies the moral high ground? Geesh. Other than that baffling remark it's an interesting interview.
Thanks to Joe Carter at Evangelical Outpost for the tip.