At the same time, each short chapter can be read as a meditation on its own. If you read A Curious Faith from cover to cover, you’ll see a chosen Biblical trajectory to Wilbert’s questions addressing subjects from the Garden of Eden to the resurrected Christ. Questions like God asking Adam and Eve, “Who told you that?” Or Habbakkuk lamenting, “Why do you make me look at injustice?” Or the many questions from Jesus himself: “Do you want to be well?” or “Who do you say I am?” or “Do you love me?” “The Bible is a permission slip for those with questions,” she writes, and in thirty-two brief chapters, she explores the many questions woven throughout Scripture. Perhaps you will then gradually, without noticing it, live along some distant day into the answer.” In fact, Wilbert uses it to open the book, sharing how these words altered her whole perspective on life. If the words of another author could sum up A Curious Faith, it would be this one from Rilke in Letters to a Young Poet: “Be patient with all that is unsolved in your heart and try to love the questions themselves… Live the questions now.
“Try to love the questions themselves.” - Rainer Maria Rilke It’s a thoughtful book from a compassionate writer, and in a cultural moment marked by black-and-white polarization in so many areas of life, it’s exactly the kind of book we need. Reading Lore Ferguson Wilbert’s new book, A Curious Faith, reminds me of spending a few hours with a good spiritual director. All we need is to bear witness and offer support. We listen, we reflect, we follow the connective threads, and we trust that the Holy Spirit is already doing a deep and secret work in a person’s soul. Later efforts from Banks began to show a drift toward commercial pop, much like Genesis' material, making A Curious Feeling and, to a lesser extent, 1983's The Fugitive his most compelling work.When I started training to become a spiritual director, I was relieved to learn very quickly that our job isn’t about giving directions, fixing problems, or doling out wisdom like some sort of Jesus Yoda.ĭo you know what spiritual directors do? We ask questions. Vocalist Kim Beacon, who has worked with the Walkie Talkies, String Driven Thing, and Thin Lizzy, is quite significant throughout, as is the atmospheric percussion work of Chester Thompson. Banks has refreshingly disposed of any coagulated instrumental pretentiousness that one might have thought would be present, as cuts like "For a While," "In the Dark," and the title track verge on a new age sort of keyboard/guitar beguilement. Banks manages to capture the wonderment and allure that enveloped Genesis' Peter Gabriel days in a number of his tracks, yet he filters out the instrumental intricacies, unorthodox time signatures, and complex poetry which enveloped these works to create a milder but equally effective progressive realm, thus generating a fair amount of musical distinction across the album. Solid keyboard movements lend themselves to mystic, fantasy-like excursions found in tracks such as "From the Undertow," "Somebody Else's Dream," and "The Waters of Lethe," one of the album's strongest cuts. Tony Banks' first solo album borrowed faint elements of Genesis' early progressive sound, making his debut release the strongest in his catalog.
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