I don't intend this to be a history of the psyche of Leonard Cohen, but I think that we can make some general statements about events that have led to the development of his "grand old artist" status. Edel writes,
"...we can read what seems to be characteristic of the history of every great artist--that moment when latent depresssion smothers the creative individual. In this crucible the artist faces the ultimate test: survive or go under."
I go back to the 92nd Street Y reading. As a young man, schooled in traditional Jewish culture, Leonard somehow broke away to write, "Beautiful Losers"-a profane, non-traditional work that certainly is outside the bounds of what was considered "good taste" at the time. At this reading, Leonard reads some of his early outstanding poetry to much applause. Then, he adds some passages from "Beautiful Losers" that includes some of this new found profane language. I understand from some of the people present that this did not go over well. The elders were not pleased. I don't think that he was ever invited back.
Now to interrupt my essay, I am going to tell you about another older artist, Jon Hendricks-one of the great vocal jazz stylists of all time. For those of you unfamiliar, here is a link to his Wikipedia page:
http://en.wikipedia.org/wiki/Jon_Hendricks
I had the very great pleasure of hearing him perform tonight at "Jazz at Five" here in Madison. He will turn 87 years old on September 16th and his physical and mental condition is amazing! He is most noted for the lyrics that he has added to Jazz songs (in this way, I think he resembles Leonard). If any of you have the Joni Mitchell album, "The Hissing of Summer Lawns"-Jon records with her on "Harry's House Centerpiece."
After this prologue, I need to tell the story that Jon told tonight-about his friendship with Thelonious Monk. He prefaced it by saying, "If beauty is in the eye of the beholder, then profanity is in the ear of the hearer." Jon said that Thelonious was, in addition to his jazz status, a person completely comfortable with his personality. His favorite word, was "motherfucker." (Jon said this discretely as only half a word-mother). He talks about walking down the street in Manhatten with Monk and seeing a Salvation Army band with a trumpet player and tambourine player on the corner. As the two of them walked by, Thelonious said, "You motherfuckers sound really good!"
I would contend that "Beautiful Losers" and "Book of Mercy" are at different ends of the spectrum. Leonard has mentioned how his admiration for Roshi entailed the comfort that Roshi had in his own personality. Roshi urged Leonard to explore the Jewishness of his background. Now in his later years later, Leonard seems more restrained, certainly less "in your face" than the passages of BL reveal. For evidence, please look at how he has changed the line in "The Future" to "give me crack and careless sex" at his recent concerts.
Another critical relationship in Leonard's life has been with his record company. Jim Devlin, in his book, "In Every Style of Passion" says this:
Picture the scene: Walter Yetnikoff's office, Columbia HQ, New York, some time in 1984; Leonard himself has just, literally, brought in the tape of his new album to play to president of his record company. After the first track "Dance Me To The End of Love", Mr. Yetnikoff complains that he doesn't like the mix. Leonard suggests that Mr. Yetnifkoff himself should remix it; and later in the same session, Yetnikoff tells Leonard that "they know he's great but just don't know if he's any good."
Of course, the record company goes on to decide not to release the album (in my opinion, one of his best) in the U.S.
Edel talks about Rembrandt's self-portraits-
"those marvelous paintings of himself. They show him in jaunty youth, all plumes and velvet jacket; in middle years, with increasing disorder in costume, but the face powerful and arresting; and finally we come upon him watery-eyed and bedraggled; but what a magnificent old man! How sure and fine is his self-realization as he confronts his visage in old age! The early swagger gives way to a mixture of resignation and resentment; as an old man he paints himself with ever greater honesty; the feather and cape have long ago been set aside. There remains only the truth. The artist addresses himself to these truths: the truth of appearance and the truth of feeling, the reality of wrinkles, the delicacy of the bulges under his eyes as they catch the light, the face now set in irreversible lines, yet suggesting wisdom and experience, the acceptance of all life, the recognition that it is usually the journey and not the arrival that matters. The artist as an old man knows that life will not offer him any better chance. There is only one, and his art has been that chance."
Now, at the risk of going contrary to my friend, LiverpoolKen, I would suggest that Leonard's late drawings-in particular his self-portraits-contain these qualities. All one needs to do is compare the young man, nervous, but with a certain self-confidence, that is portrayed in "Gentleman, Mr. Leonard Cohen" to those daily self-portraits that have been on display lately.
To paraphase Edel, Leonard sings the "tatters" in a kind of revenge upon the indignities heaped upon the body. Edel speaks of meeting Yeats one evening in Montreal (of all places) and describes him in this fashion:
...the shock of white hair, the clear questioning eyes, the restless animal pacing in his room, the vigor--the boundless vigor--the pounce of an animal all instinct and superb control, control of everything he said.
To use a quote from Yeats himself-"An old man's eagle mind." I think you know now, what type of old artist I believe Leonard to be.
Joe
...and maybe this is to do with his deeper voice?
