I know there are some advantages to this forum
over the usenet group (alt.music.leonard-cohen).
But it has one great disadvantage. In usenet
it's usually easy to reconstruct the context
of a post by reading a small number of posts
above it in the thread's tree. Here, the only way
to reconstruct the context is with a lot of quotes.
Elizabeth wrote (days ago, -sorry!)
about a post I posted here:
I followed you ~ for the most part ~
but still faded in and out a bit
with the way you had to circle back,
stating in the 'reverse' some of the things,
to make your point.
Liz, I just wrote it very badly.
I'm very fond of 'phenomenology'
- close observation of actual phenomena,
- in this case the actual sound of the album,
(vs, eg, political interpretations of it)
The technique tends to be hard to follow,
on account of its pains-taking detail,
so the experts in it tend to circle back
a lot. This is supposed to help. I may
have the style down better than the content,
which is one reason mine was particularly
hard to follow. In any case, in this case,
I was thinking what I was writing
as I wrote it. This may have resulted
a good point or two, but that wasn't
my purpose. I wanted show "lightning"
that the songs needed more time and
thought than she had given them.
And to do that I thought it might help
to show my own thinking about them
at one particular moment in time.
I have in fact gone beyond what
I wrote there - due largely to
an incredibly enlightening article
that Joe resurrected in the
"To A Teacher" thread,
- namely Michael Q. Abraham's
"Neurotic Affiliations" essay:
http://www.uwo.ca/english/canadianpoetr ... ations.htm
(-I am now quite convinced that all of Cohen
has to be interpreted vis a vis Klein and Layton)
Anyway, when I first heard Dear Heather I knew
immediately that this was one album that
would repay repeated listening, -hard study
even. It is a far more accessible album than
any he's done before, and there's going to be a
lot more that can be said about it, with a feeling of
certainty, -and less of that feeling of "reading-into"
that his previous albums seemed to thrive on. .
But I knew also that it would take time - many
repeated listenings. Any attempt
to interpret too much too soon
would be counter-productive, -
leaving one with trivial observations
raised to excessive value, and a
vested interests in stretching them
to cover more than is justified.
That's what I think I may have done,
somewhat, - due to acting too soon
on the impulse to respond to this thread.
It's no consolation to me that "lighning"
did it first, and worse. The more we commit
to our own observations, the harder
it becomes to back out of them, to
hear what's actually on the album without
prejudice.
Again, it wasn't the point "lightning" made
that bothered me. It was her attitude about
the point she made that angered me.
There's more truth to the point than
I'd thought at first. In particular, Joe
is correct that "wounded new york" is
being contrasted with "the millions slain".
And some will characterize that as being
"morally relative".
I didn't get that at first because I was reading
"wounded new york" as meaning "just wounded,
and not down". A boast, and counter-taunt,
-just like Toby Keith's:
Justice will be served and the battle will rage.
This big dog will fight when you rattle his cage
You'll be sorry that you messed with the US of A
'Cuz we'll put a boot in your ass
It's the American way.
"rattled cage" == "wounded new york"
i.e.,
-Shaken, -wounded even, - but not out.
(New York has a proud history of recovering
from its "wounds", ---its crime waves and
near bankruptcies etc.)
(aside: -very revealing too of Toby Keith
to compare the US of A to a dog in a cage!
One thinks of the "American Pit Bull Terrier"
which some people enjoy keeping,-necessarily
in a cage. I don't understand the desire to
keep a pit bull. But I suspect it is similar
to how some people feel about "being American").
Numerical comparisons like that are
generally verboten to those who take sides.
Unless of course theirs happen to be the
side with the higher number of casualties,
- the more-sympathetic 'wounded'.
In this case it's likely that there will be
those who condemn the comparison as trivializing
"that day". And others who laud it as part of
the struggle to gain proper perspective.
There is a morbid fascination with these numbers.
"Lightning" herself has mentioned that:
Nature Magazine just estimated the dead
in Iraq at 100,000, mostly women and children.
Does "lightning" mean by that to trivialize 9/11?
Let me re-phrase her 2nd post (in this thread)
to show what I mean:
Where in the text does lightning say
that she has no doubt that this 100,000
isn't an excessive revenge for 9/11?
She just says "100,000", and that means
that she thinks it's too much - out of any
sane proportion to the 3000 killed in N.Y.
If she didn't have a doubt that it might
be too much, don't you think she would
have added "...100,000, mostly women
and children; -but don't forget
the thousands evaporated in N.Y.,
-many of them women and children also."
Because that's exact what she's demanding of Cohen:
Where in the text does it say
that Leonard has no doubt that these people
did not deserve to die?
He says " I wouldn't know..."
That means he considers it a possibility
that they did deserve to die.
If he didn't have a doubt don't you think
he would have condemned the act?
Apart from the weird expectation that Cohen ought,
morally, to be as bad writer as Toby Keith,
-I have a very big problem with "lightnings" apparent
demand that artists must always explicitly
express the politically correct sentiments of
'the common people' in a way that 'the common
people' can understand, -i.e, the country music way, -
-and not Cohenesque intellectual double-talk.
The demand has a long and real history.
The following is from Roger Ebert's review
of the movie "Max":
Hitler instinctively fails to see the point
of abstract art; at one point he suggests
that Rothman frame his diarrhea. We are
reminded that, in power, both the Nazis
and the Soviets banned and burned abstract
art. Curious, that art which claimed to
represent nothing nevertheless represented
so much to them. Perhaps art is a threat to
totalitarianism when it does not have a clear,
censurable subject and is left to the musings
of the citizen.
http://rogerebert.suntimes.com/apps/pbc ... 40303/1023
It amazes me that any "Cohen fan" can read
or hear a song like "On That Day",
and, --for not seeing some kind of
explicit, bald-faced condemnation of 9/11
jump out of it,
(--like what? like he should have written:
"Some evil mothers
Say it’s what we deserve
But they're just jealous
Of our women and mirvs" ?
)
- regard it as morally relativistic,
- or as actually condoning the attack
- rather than as what it is - a clue that she
needs to listen deeper.
I have a problem with people who
regard the only correct moral stand,
as whatever theirs is,
- who regard any attempt to understand
any other position as equivalent to condoning
it.
There is no naturally politically correct position.
It depends on which gangsters happen to be
in control. Nazi, Stalinists, the gang of 4,
the Taliban, ... the "neo-conservative" "religious-right".
You name it. They're all the same - "The True Believer".
I haven't heard Springsteen's "The Rising",
but I've read that it's gotten the same
kind of criticism. Here's one, about it's
very existence:
Bruce Springstein (The Rising) - Fuck The Boss,
and fuck going on tour to cash in on a national trajedy.
(Also fuck Enrique Inglesias, DMB, U2,
Ryan Adams for the same reason.)
-
http://209.157.64.200/focus/f-news/740127/posts
It's no wonder Cohen was musing:
..there are times when nothing can be done.
Not this time.
Is it censorship?
No, it’s evaporation.
...
Do you think you’ll be able to pull it off?
Yes.
don't know what he means.
But I don't think his thoughts, the
"Dear Heather" album, can be sucessfully
censored by the likes of "lightning".
Nor will it just evaporate.
I think he's pulled it off this time.
The album is seductive enough that people
want to listen to it. But more important,
many of them also seem to want to think
about it. A lot.
And that's good.
~greg.