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Throughout this book, Scott Marshall reveals that many of the answers people are searching for, in regard to Bob Dylan's faith, are found within his songs and life. The problem tends to be the biases brought to the music beforehand. This causes words that Dylan has said to appear contradictory, to be taken out of context. The author helps straighten them out, as he exposes the big picture (each chapter chronicles Dylan's life to the present year: 1941-1978, and so on). Though it is evident that the author also believes in Yeshua Ha Mashia (Jesus Christ) on a personal level, he does well in allowing the musician's own words and actions to speak for themselves.
Mr. Marshall covers numerous events, concerning (among others) such friends as Allen Ginsberg and acquaintances like Frank Zappa. And they help give added weight to lyrics in songs like "Precious Angel": My so-called friends have fallen under a spell. They look me squarely in the eye and they say, "All is well..." and the unacceptance felt in "I Believe In You": I believe in you even though I be outnumbered. Oh, though the earth may shake me-Oh, though my friends forsake me-that couldn't make me go back.
It is evident from Dylan's music that he feels people have tried to pigeonhole him. It is apparent, however, that his faith is strong regardless. Dylan has found critics on all sides. And he has done well to do what many people apparently fail to--delineate between his faith in Christ (which is personal) and religion (which, in and of itself, is not).
As Dylan sings in "Need A Woman," he is: searching for the truth the way God designed it. Not man. This would go hand in hand with his not being beholden to any "rabbi, preacher, or evangelist." He made such a statement after admitting that he enjoys listening to "preacher stations" on the radio. Another contradiction? Nope. But who is Dylan accountable to then, one might ask?...God. He knows well that a day of reckoning is yet to come (just listen to "Lord, Protect My Child," "God Knows," "Are You Ready?," Shooting Star," "Things Have Changed," and "Summer Days").
Some skeptics would say that Bob Dylan's spiritual journey has been one of contradiction. His own aunt evidently believes that his "conversion" was for the means of publicity. If this was the case (which Marshall does well in refuting), Mr. Dylan needs a new publicist! She also said, in effect, that he couldn't have "converted" because he's "plenty Jewish-minded-he was barmitzvahed." So someone who is Jewish, and barmitzvahed cannot be a believer in Christ? Scott Marshall heartily disagrees, as do many other believers. Jesus was a Jew after all.
"Restless Pilgrim" was a most enjoyable and quick read which left me wanting for a second volume. I was satisfied with its content as being researched very well. I would disagree with another reviewer, in saying that this book is narrow in its scope. It is obvious that Mr. Dylan was nominally a believer in Judaism, but that he embraced his Jewish roots more fervently after coming to faith in Jesus Christ. In the past twenty years (post-"Gospel Tour") it seems that those of Judaism and Christianity have, at some level, been debating whether Dylan belongs to their camp, or not. Mr. Marshall lays out the facts as they are...
I was impressed by the author's numerous interviews with individuals who were at the heart of the "Gospel Tour," and have been a part of Dylan's life. I had never heard about the many other musicians from the Rolling Thunder Revue that had become Christians-and artists like T-Bone Burnett and Roger McGuinn who came to faith at that same time (members of Mr. Dylan's circle of friends). I also found the story behind the original "Saved" album cover to be interesting (as I personally find that painting to be aesthetically more pleasing than the present one being used by Columbia for the cover).
Lastly, I was left with these impressions after reading this book: Dylan isn't singing for the generation who idolized him in his younger years. Though he was once referred to as the "voice of [that] generation" many considered him a traitor after he took a bold stand for Christ. Even Joan Baez spoke ill of his faith in "Children of the '80s" (what an open mind, Ms. Baez). He was only a voice for them when they believed that he agreed with them. Even when he sings "All Along the Watchtower" these days, one wonders how many know of its connection to Isaiah 28. I know I was clueless on this matter. Dylan isn't singing for the music industry either-it is all too obvious that many of his albums since "Saved," and prior to "Time Out of Mind," were not bestsellers. But is that what matters? I agree with Leonard Cohen, and Bono, that those albums are works of art, many of which are under appreciated. No, Dylan isn't concerned with the music industry's acceptance of him. It can be summed up in the introduction he gave to "In The Garden" at the Hard to Handle concert in 1986. Dylan said "I'm gonna sing about my hero now." Anyone who knows the lyrics of this song knows for whom he sings, and why.
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From his apocalyptic expressions onstage and in the studio, to his unapologetic biblical views that leak out during interviews, Bob Dylan's spiritual journey makes for a fascinating story. A curious icon of popular culture, yet distinct in his Judeo-Christian expressions, Bob Dylan doesn't fit neatly into the typical rock 'n' roll mold. Who else would have the chutzpah to publicly contribute to Orthodox Jewish communities while publicly singing songs about Jesus' crucifixion, resurrection and eventual return? RESTLESS PILGRIM wrestles with the seemingly contradictory facts of Dylan's preoccupation with Jesus and his own Jewish heritage, by looking through the lens of this reluctant legend's four-decade career.
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