Some people find Christ in their darkest hour. Others turn to Allah. But if you’re a Jew, young, and in trouble, your best bet is Leonard Cohen.
I was thirteen when I accepted the singer as my personal savior. I grew up in a beachside suburb of Tel Aviv, Israel, the spoiled child of a wealthy family. One afternoon, I came home from school, tossed my backpack on the floor, and raided the fridge in search of lunch when someone knocked on the door. It was the police. Three detectives politely forced their way in and informed me that my father—the jovial bon vivant whose hobbies included fast cars, fine hotels, and fat foods—had just been arrested. He was caught red-handed, the lead detective told me matter-of-factly, and confessed to being the Motorcycle Bandit, a brazen criminal who had hit up more than 20 banks in just a few months and whose antics made him a folk hero to many.
And, just like that, life as I knew it ended. I was no longer the child of privilege; I was now the son of the most notorious criminal in a country too small to keep secrets or award privacy. Our house filled up with visitors, and I remember my mother commenting bitterly that it felt like a
, the traditional Jewish mourning ritual in which friends and relatives gather to keep the bereaved company.
If the adults had appropriate words of condolence at their disposal, the adolescents, my friends, did not. Like teenaged boys everywhere, they had received no training in the art of empathy, and did not know how to console one of their own in the face of such strange trauma. Instead of words, then, they did what teenaged boys everywhere do and offered mixtapes.
Most of these were dross, catchy pop concoctions that went down easy and left no lasting impression. But one stood out. It contained an assortment of songs by Leonard Cohen.
I barely spoke English then, but Cohen’s words pierced right through the language barrier. They didn’t peddle in sentiment. They weren’t thick with bravado. They spoke a difficult but liberating truth. When I listened to “The Sisters of Mercy” for the first time, for example, I shuddered at the line about those “who must leave everything that you cannot control / It begins with your family, but soon it comes down to your soul.” It didn’t feel like a song lyric; it felt like an insight plucked from some higher realm, telling me to persevere, suggesting that things were tough but not hopeless. Alone in my bedroom, after all the well-wishers had left, I played the tape over and over again. It was the only thing that gave me comfort.