576 pages, 9.27 × 6.24 × 1.79 in
October 23, 2012
McClelland & Stewart
The following ISBNs are associated with this title:
ISBN - 10: 0771080409
ISBN - 13: 9780771080401
From the Publisher
The definitive biography of one of the most emigmatic, beloved, and celebrated artists of our time.
Leonard Cohen's extensive and successful recent worldwide tour has demonstrated that his popularity across generations and borders has never been greater. Cohen's life is one of singular mystique. This major in-depth biography is the book Cohen's fans have been waiting for. Acclaimed writer/journalist Sylvie Simmons has interviewed more than 100 figures from Cohen's life and work, including his main muses; the women in his life -- from Suzanne and Marianne to Rebecca de Mornay and Anjani Thomas; artists such as Rufus Wainwright, Nick Cave, David Crosby, Judy Collins, and Philip Glass; his record producers; his closest friends, from childhood to adulthood; and many of the spiritual figures who have influenced his life.
Cohen, notoriously private, has granted interviews himself. Thoroughly researched and thoughtful, penetrating and lively, fascinating and revealing of stories and facts never read before, I'm Your Man offers new perspectives on Cohen and his life. It will be one of the most talked-about books of the season, and for years to come.
About the Author
SYLVIE SIMMONS is one of the best-known names in rock journalism. She has written for Q, Rolling Stone, Sounds, Kerrang!, Tracks, Blender, and Creem, among others. She writes for MOJO, in which she has a monthly American column and has had cover stories about Neil Young, Pink Floyd, The Beach Boys , AC/DC, and Johnny Cash. She also writes for British newspapers including Times, the Sunday Sport, and the Guardian. In the US, she writes for the San Francisco Chronicle.
Leonard Cohen’s songs mix the sleazy and the sacred in ways that break down both categories. This music, delivered in Cohen’s nasal non-voice, often played on cheap synthesizers, shoddily produced, sometimes badly recorded and unreliably distributed, nevertheless finds unlikely access to words like “holy,” “saint,” and “prayer” as though to transcend its origins in the gut and the loins. Cohen has attracted many disciples and inspired many conversions. He is one of the most beloved figures in modern pop, but everyone who listens to Cohen feels he has bailed him out of impending obscurity.
He is a kind of permanent alternative to whatever it is you’ve been listening to: I came to him after I’d listened too much to the Nineties West Coast band Pavement, with whom he has zero in common. Somehow I felt I’d been making a mistake, all this time, listening to other bands and singers. The feeling passed, but it’s a common one: Cohen inspires not just loyalty but a weird monogamy.
Cohen has the ubiquity of Waldo or Zelig, turning up on the fringe of every picture. People who have never even heard of Cohen have heard his songs. He is a regular on movie soundtracks of all kinds. His songs created much of the power of Robert Altman’s marvelous Seventies western, McCabe & Mrs. Miller. In another vein, “Hallelujah,” his most famous song, played at the end of Shrek as the two computer-generated ogres embraced. This was an odd choice, considering the fact that the most famous lyrics fr