From Leonard Cohen, Personal Interview with Winfried Siemerling. 2 November 1990, North York. Unpublished. Quoted in Interior Landscapes and the Public Realm: Contingent Mediations in a Speech and a Song by Leonard Cohen by Winfried Siemerling. Canadian Poetry: No. 33, Fall/Winter, 1993. Originally posted March 29, 2014 at DrHGuy.com, a predecessor of Cohencentric
My depression, so bleak and anguished, was just crucial, and I couldn’t shake it; it wouldn’t go away. I didn’t know what it was. I was ashamed of it, because it would be there even when things were good, and I would be saying to myself, ‘Really, what have you got to complain about?’ But for people who suffer from acute clinical depression, it is quite irrelevant what the circumstances of your life are.
From A Happy Man by Mireille Silcott, Saturday Night, Canada. September 15, 2001
A summary of Leonard Cohen’s depression, its treatment, and its disappearance is available at Leonard Cohen’s Depression, Its (Failed) Medical Treatment, & Its Resolution
All posts dealing with Leonard Cohen’s depression can be accessed at Depression & Leonard Cohen
Great Content, Poor Video, & Valerie Pringle
This 1997 CTV interview with Leonard Cohen is much debated among fans, many of whom argue that the interviewer, Valerie Pringle, a well known personalty in Canadian TV broadcasting, is ill informed about Cohen while others describe her as malignantly disrespectful and only secondarily ill informed. A few others feel she is only a reporter doing her job.
From my perspective, she is fairly aggressive but seems less interested in attacking Cohen than in trying hard to find an angle to exploit for her story.
There is also a striking difference in the language she uses when reading from a prepared script (e.g., during the introduction) and that used when she is off-script (e.g., following up on Cohen’s response to a question).
For example, in the lead-in to the questioning, she notes that “[Cohen’s] songs are rich with metaphor and melancholy” and ” … themes of love, death, and salvation have made him an anomaly in the world of light pop music.” Her questions are more abrupt: “Tell me about women.”
And, she does seem to have slacked off on her homework for the interview, confusing, for example, the Suzanne who is the mother of Cohen’s children (Suzanne Elrod) with the Suzanne who was the inspiration for the song of that name (Suzanne Vaillancourt). While a common and understandable mistake, it seems a significant error for someone with a reputation as a professional interviewer to make in a scheduled program featuring a well known national figure whose biographical material is easily accessible.
And, her attempt to perpetuate the myth that the elimination of an artist’s depression will also eliminate his creativity is just embarrassing.
In any case, Leonard Cohen, as he has done routinely since he was an up and coming young poet, covers the material he wishes, regardless of the questions asked.
He does, however, appear ill at ease on occasion. My reading of that discomfort is that Cohen is less concerned that the interviewer is asking deeply probing, difficult questions than that she is a loose cannon.
Update: Gordana Stupar has located superior version of this video at CTV News Video Network
Note: Originally posted Sept 5, 2009 at 1HeckOfAGuy.com, a predecessor of Cohencentric
In the late ’60s you were in a community of folk singers who played together, sang each other’s songs – And everybody went for the money. Everybody. The thing died very, very quickly; the merchants took over. Nobody resisted. My purity is based on the fact that nobody offered me much money.
From Leonard Cohen’s Nervous Breakthrough by Mark Rowland, Musician, July 1988. Originally posted August 10, 2009 at DrHGuy.com, a predecessor of Cohencentric