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24 visions of Leonard Cohen, no clear picture of who he was
The World of Leonard Cohen
Edited by David R. Shumway
Cambridge University Press, 398pp, $35
The Torah has 70 faces — how many did Leonard Cohen have? To go by bibliography, 70 seems conservative.
Books devoted to the singer-songwriter and poet, including a graphic novel treatment, are a cottage industry. There are texts on the “Mystical Roots” of his genius, Alan Light’s authoritative study of his song “Hallelujah,” an account of his tour of the Sinai during the Yom Kippur War and surveys about the critical response to his oeuvre. Entering the mix is The World of Leonard Cohen, a 24-essay collection breaking down the multitudes the man contained.
“More than Dylan or anyone else in popular music, he remains a mystery because he doesn’t fit any of the usual categories,” editor David R. Shumway writes in his introduction. “Almost any statement you can make about him must immediately be qualified or be met with a contrary.”
Indeed, Cohen defies a strict taxonomy: an English-speaking Jewish Buddhist monk who grew up in a Catholic francophone town and established himself as a poet before entering the music industry. Throughout his life, he shapeshifted, from enfant terrible of the Montreal literary scene to depressive psalmist, wizened ladies’ man and, after a years-long exile, a humble, appreciative elder statesman whose fan base peaked sometime after his AARP eligibility.
Shumway’s book begins with essays covering Cohen’s creative life, then moves onto his musical, religious and cultural contexts with a kind of epilogue for his legacy and a tease of the treasures to come in his archive.
Many of the early details — provided in Ira Nadel’s quick, first chapter biography — may not be new to Cohen acolytes. The familiar tale of 9-year-old Cohen burying his first poem in his father’s bowtie and his “messianic childhood” is given its proper due.
Gillian A.M. Mitchell’s consideration of how Cohen — who discovered The People’s Song Book as a Jewish summer camp counselor — floated in the folk music periphery hints at the trickiness of genre. Shumway’s subsequent chapter, which suggests Cohen was the ur-singer-songwriter, may be overstating its case. (He himself seems to admit the lack of a confessional quality sets Cohen apart from the likes of Joni Mitchell, even if their dalliance inspired her move away from folk.)
Most engaging in the volume, on a man who relished contradictions, are the diverging details, which build out on a minimal p’shat — or surface text — with what feels like midrash.
A Flamenco guitarist, who taught Cohen his limited repertoire of chords (what Cohen called his “chop”) gets an early mention. Only later do we read their lessons were cut short by the guitarist’s suicide. Some chapters note how the press assigned Cohen the moniker “The Canadian Bob Dylan.” Later ones note how Cohen, at a party with the “Montreal Group” of poets, “solemnly announc[ed] that he would become the Canadian Dylan, a statement all dismissed.” Who brought the Dylan records to that shindig is a detail left up for grabs.
Many chapters tell the origin story for Cohen’s New York debut with Judy Collins, placing it at Town Hall. Others contend the incident — which saw Cohen leave the stage in fear — put the incident earlier at the Village Theatre. Sylvie Simmons, author of I’m Your Man: The Life of Leonard Cohen, discovered the discrepancy in a letter Cohen sent to his lover Marianne Ihlen, putting Simmons at odds with other biographers.
The final chapter, on the Cohen archive, quotes that letter and gives a fuller picture of what, exactly, went wrong.
“I stepped up to the mike, hit a chord on my guitar,” Cohen wrote, “found the instrument had gone completely out of tune, tried to tune it, couldn’t, decided to sing anyhow, couldn’t get more than a croak out of my throat, managed four lines of ‘Suzanne,’ my voice unbelievably flat, then I broke off and said simply, “Sorry, I just can’t make it,” and walked off the stage, my fingers like rubber bands, the people baffled and my career in music dying among the coughs of the people backstage.”
He then reports the “curious happiness” of his failure, which, when Collins coaxed him back onstage, became a success.
This being Cohen, several essays are given to his spiritual seeking. Sadly, the entry on his Jewishness is at times the most opaque.
“From Cohen’s perspective, to fulfill its prophetic mission, Judaism must serve as the speculum through which to envision the universalization of the particular in the particularization of the universal.” writes Jewish mysticism scholar Elliot R. Wolfson, chasing that observation by noting how the “Jew attests figurally to the fact that the general must always be measured from the standpoint of an individuality that withstands collapsing the difference between self and other in the othering of the self as the self of the other.”
Clearer is the section on Buddhist affinities, by Christophe Lebold, author of Leonard Cohen: The Man Who Saw the Angels Fall. Lebold teases out how Cohen’s zen practice informed his lyrics and poetry, fusing with his Jewishness to create a syncretic philosophy.
The essay on Christianity by Marcia Pally is fine, but insists at times on a mono-reading of Cohen’s words. It also contains a risible parenthetical: “Jesus sustained covenantal bonds; no one else has (save Abraham and Moses).” This, to me, may as well have read “Jeff Buckley sang ‘Hallelujah;’ no one else did (save Leonard Cohen and John Cale).”
The overall effect of this volume, which also includes essays on the use of Cohen’s music in film, his image management in documentaries and his appeal to women, is to come away with great insights and still be at a loss.
David Boucher’s section on Cohen’s politics makes a case for Cohen as a contrarian who concealed his purportedly conservative politics to better cater to his liberal fanbase.
Somehow, even after being pistol-whipped by Phil Spector while recording Death of a Ladies’ Man, he was “undoubtedly a proud NRA member.” In a 1988 documentary for Canadian television, he opined that drugs coming into America constituted a legitimate “attack” and suggested the Army “go in and bomb the countries” responsible. (The man who wrote “The Future” showed some prescience here.)
Was he just being provocative for the fun of it? Probably. He did a fair amount of drugs. In a notebook from his archive that points to Cohen’s infatuation with Velvet Underground chanteuse Nico, he wrote how he “asked her to get heroin.”
Cohen studies continue, soon to be aided by the digitization of his archive of notebooks, film, photographs, visual art and recordings. Will these artifacts bring us closer, or further away, from understanding the man?
He spent a lifetime trying to figure himself out. We don’t stand a chance.
The post 24 visions of Leonard Cohen, no clear picture of who he was appeared first on The Forward.
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Jewish Democrats back Michigan AG Dana Nessel’s decision to skip state party convention
(JTA) — Local and national Jewish Democrats say they are sympathetic after Michigan’s Jewish attorney general, Dana Nessel, said she would skip the state Democratic Party’s nominating convention over concerns about antisemitism and harassment.
“I don’t blame AG Nessel for not wanting to go and basically put herself in situations that feel untenable in this moment of time and don’t add any value politically, personally,” Jessica “Decky” Alexander, the Michigan Jewish Democratic caucus chair, told the Jewish Telegraphic Agency on Friday.
Alexander’s comment came a day after Nessel announced during a televised antisemitism roundtable that she would be skipping the convention next month, where party leaders will finalize the state’s Democratic candidate for Senate following a divisive primary that has focused in part on Israel and antisemitism.
“I don’t feel safe going. I feel like my presence isn’t going to be welcome. I don’t want to get chased around. I don’t want to get harassed. I don’t want to get yelled and screamed at. I don’t want to get booed off the stage, irrespective of what I’m saying,” Nessel said during the roundtable. “And I believe that if I go, that is what will happen because it’s been happening to me.”
She said she had filed a formal complaint within the party about a party official who had called her a neo-Nazi because of her beliefs. “Why is this person more accepted in our party than me?” she asked without naming the official. Her office responded to a request for comment by referring to the recorded livestream of the antisemitism roundtable.
Nessel’s declaration comes in the final days of the primary between Rep. Haley Stevens, a pro-Israel stalwart, and Abdul El-Sayed, a democratic socialist who is deeply critical of Israel. El-Sayed is surging in polls despite a reported $30 million spent against him by AIPAC, the pro-Israel lobby, and its supporters, whom he has made a target of criticism from the campaign trail.
Nessel’s comments also follow turmoil at the Michigan Democratic Party’s endorsement convention in April, where Stevens was booed by attendees. A third primary candidate who later dropped out of the race, state Sen. Mallory McMorrow, said a convention attendee had targeted her Jewish husband with an antisemitic slur.
The incident has fueled alarm among Jewish Democrats, according to Halie Soifer, CEO of the Jewish Democratic Council of America.
“She’s not alone,” Soifer told JTA about Nessel on Friday. “We’ve heard from other Jewish Democrats who attended the Democratic Party convention earlier this year in Michigan, and there was a sense of discomfort amid what felt like a pro-Palestinian protest [that] may have even blurred the line for some into antisemitic sentiment — and it’s really concerning.”
Nessel has raised the alarm about antisemitism within the party for years, alleging in 2024 that Michigan Rep. Rashida Tlaib, a prominent pro-Palestinian voice, had been antisemitic when criticizing charges Nessel filed against pro-Palestinian protesters at the University of Michigan.
For her part, Alexander said she would be participating in the nominating convention and said she believed the chair of the state Democratic Party, Curtis Hertel, had been “very accessible and very open to making sure that we, including our Jewish elected officials, feel safe in that space.” But she said she understood why Nessel was staying away.
“It would never even occur to me, but I’m not an elected official,” Alexander said. “It’s a different stake for me than it is for Dana. I understand her completely.”
This article originally appeared on JTA.org.
The post Jewish Democrats back Michigan AG Dana Nessel’s decision to skip state party convention appeared first on The Forward.
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Maine rabbis call for peace, urge politicians to stop calling Gaza war a ‘genocide’
(JTA) — Every congregational rabbi in Maine has signed onto a statement calling for peace and urging the state’s political leaders to stop using the term “genocide” to describe Israel’s war in Gaza, following a Democratic primary in which several candidates used the label for the first time.
But the rabbis also indicated that they, too, were unsatisfied with conditions in the Middle East and called on Israeli and Palestinian leaders to work toward a peaceful future.
“We call upon Maine’s leaders, and particularly its political leaders, to reject the irresponsible usage of the term in describing the Israel-Hamas War,” said the statement released on Friday. “We also call upon Israeli and Palestinian leaders to end the cycle of violence and to create a better world for both Palestinian and Israeli children.”
The statement, titled “A Call for Peace and Responsible Rhetoric,” argues that using the term as a “political slogan does not advance peace in the Middle East.” The term “erases essential moral and legal distinctions, diminishes the meaning of genocide, and inflames hatred for the local Jewish community,” the rabbis say.
“Compassion for Palestinians does not require the adoption of hateful and misleading language,” they continue. “Advocating for peace does not require participation in a ‘Holocaust inversion’ against the Jewish community. And political leadership does not require demonizing one community in the service of another.”
The statement comes days after Troy Jackson, a former logger and state Senate president, secured the Maine Democratic U.S. Senate nomination Saturday at the party’s nominating convention to replace Graham Platner, a staunch Israel critic who dropped out of the race earlier this month. Platner faced a sexual assault allegation, which he denies. Jackson now faces Republican incumbent Sen. Susan Collins in November’s general election.
Platner’s romp to the primary victory featured routine use of “genocide” to describe Israel’s actions. And ahead of the convention to replace him, Jackson and several other Democratic hopefuls who later exited the race began using the term “genocide” to describe Israel’s war in Gaza for the first time, a shift that drew scrutiny from some Jewish leaders and voters in the state.
The use of the term has become a “currency for acquiring power and position in Maine’s Democratic party,” Rabbi Rachel Isaacs, the leader of Beth Israel Congregation in Waterville, who also signed the statement, told the Jewish Telegraphic Agency.
“Too many Maine Democrats are cynically willing to trade in that currency at the expense of our safety and dignity,” she said in an emailed statement. “We decided we needed to say something collectively, both about the specious and dangerous nature of the claim, and about how much damage has been done to our families and congregants.”
The statement Friday was spearheaded by the Jewish Community Alliance of Southern Maine and signed by every congregational rabbi in the state, including Rabbi Bill Siemers of the Conservative Congregation Beth Israel in Bangor and Rabbi Erica Asch of the Reform Temple Beth El in Augusta. (Rabbis affiliated with the Chabad movement in Maine did not appear on the signatory list.)
Zach Schwartz, the director of the Jewish Community Relations Council at the Jewish Community Alliance of Southern Maine, said the federation hoped the “unity displayed here in Maine can inspire Jewish communities across the US to also unite against the extremist rhetoric harming our community and our children.”
Rabbi Josh Stanton, the associate vice president of interfaith and intergroup initiatives for Jewish Federations of North America, also hailed the joint statement.
“Maine’s Jewish clergy are setting an important example with their call to put aside inflammatory rhetoric and look to the common good,” Stanton said in an emailed statement. “At a time of rising polarization and declining civil discourse, the Jewish Community Alliance of Southern Maine’s efforts to unify the community around this important message are a mark of true leadership.”
Isaacs told JTA that she hoped Jackson would “support, understand, and advocate for all of Maine’s citizens, including the totality of Maine’s diverse Jewish community.”
“Work with us to figure out how to express outrage and legitimate critique of Israel’s government without succumbing to language that you might not know is an ancient antisemitic trope, or dismissing the security needs of Israel’s citizens,” Isaacs said of her message to Jackson. “Please have the courage to forge your own path, and not follow in the footsteps of Graham Platner, a man who should have never been normalized, endorsed, or empowered.”
This article originally appeared on JTA.org.
The post Maine rabbis call for peace, urge politicians to stop calling Gaza war a ‘genocide’ appeared first on The Forward.
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Boy George cedes role of King Herod in ‘Jesus Christ Superstar’ production after releasing pro-Israel song
(JTA) — Boy George has withdrawn from his run as King Herod in London’s West End revival of “Jesus Christ Superstar,” days before he was due to take the stage and 24 hours after releasing “We Will Dance Again,” dedicated to the victims of Hamas’ Oct. 7, 2023, attack on the Nova music festival in Israel.
The 80’s pop star was scheduled to appear at London’s Palladium starting Monday as part of the production’s rotating cast playing King Herod, the Judean king who is best known by Jews for his expansion of the Second Temple and to Christians for his efforts to stave off the arrival of a challenger — the story of which is reflected in the rock opera by Andrew Lloyd Webber and Tim Rice.
Boy George will be replaced by actor Richard Armitage in the London production.
In announcing the cast change, Paul Kelmsley, the singer’s manager, did not directly mention the blowback the former Culture Club frontman was receiving for releasing a pro-Israel song but alluded to it.
“George has never been afraid to stand by his personal convictions, and I have always respected him for that,” he said. ”In this instance, I felt it was right to step aside, allowing the production to remain the focus, while ensuring everyone involved can move forward with mutual respect and goodwill.”
Boy George is defending his decision to release the song, saying he believes artists should be free to express their views even when they are unpopular. In “We Will Dance Again,” the singer rejects claims of genocide against Israel and proclaims, “If you’re ever confused, I stand with the Jews.”
Earlier Friday, Boy George lashed back at the vitriol he was getting online. “What is most shocking is the amount of gay folk attacking me, ” he posted on X. “If you support terrorism you can in the words of Divine ‘Take your toolkit and go f—_ a garage,’” he said, referring to a quote attributed to the taboo-breaking transgender artist.
“When I say ‘they want to kill every last one of us’ I am also talking about us queers, not just the Jewish community,” Boy George said. “When will you wake up?”
This article originally appeared on JTA.org.
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