{"id":160396,"date":"2022-06-27T10:58:55","date_gmt":"2022-06-27T14:58:55","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160396"},"modified":"2022-07-01T09:57:46","modified_gmt":"2022-07-01T13:57:46","slug":"passing-through-on-leonard-cohen","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/27\/passing-through-on-leonard-cohen\/","title":{"rendered":"Passing Through: On Leonard Cohen"},"content":{"rendered":"

\"\"<\/a><\/span><\/p>\n

To mark the appearance of Leonard Cohen\u2019s \u201c<\/i>Begin Again<\/a>\u201d<\/i>\u00a0in our\u00a0<\/i>Summer issue<\/a><\/i>, we’re<\/em> p<\/em>ublishing a series of short reflections on his life and work.<\/i><\/p>\n

When Leonard Cohen starts singing \u201cPassing Through\u201d on his 1973\u00a0<\/span>Live Songs<\/em>\u00a0<\/span>album, he sounds tentative, like a child who\u2019s been asked to sing a song he learned at school in front of a party of adults. \u201cI saw Jesus on the cross, on a hill called calvary \u2026\u201d On the record his voice is faint\u2014I\u2019ve spent twenty years turning up the volume\u2014and he sings so casually that it sounds like he really might have seen the crucified Christ, and asked him, deadpan and impertinent, \u201cDo you hate mankind, for what he\u2019s done to you?\u201d Jesus has a pretty mellow, Jesus-like response, delivered in Cohen\u2019s increasingly confident baritone: \u201cHe said \u2018Talk of love not hate\u2014things to do, it\u2019s getting late.\u2019\u201d He is, like the rest of the Biblical and historical characters Cohen will encounter throughout the song, only passing through. Compare Cohen\u2019s line readings to the declamatory, bugged-out delivery that Dylan gives to the opening lines of his bible pastiche \u201cHighway 61 Revisited.\u201d Cohen is calm, weary, a little resigned; Dylan is providing color commentary at the Belmont Stakes.<\/span><\/p>\n

Cohen didn\u2019t write \u201cPassing Through,\u201d something I didn\u2019t know until a week ago. The gentle, straightforward melody and slightly hokey lyrics about George Washington and Franklin Roosevelt probably should have given it away as the product of a forties folk socialist songbook that it is, but with Cohen, it\u2019s often hard to be sure what level of irony, if any, we\u2019re dealing with. \u201cPassing Through\u201d builds in strength and spirit as it goes along, Cohen\u2019s perfectly ramshackle country band and backup singers providing a reasonable and sincere-seeming simulacrum of a gospel revival. He puts some extra oomph into the climactic, clumsy sentiment: \u201cYankee, Russian, white or tan \/ He said a man is still a man \/ We\u2019re all on one road, and we\u2019re only passing through.\u201d The audience claps along on the final chorus. Does he mean it? At least as much as Roger McGuinn and Gram Parsons mean it when they sing that they \u201clike the Christian life.\u201d Which is to say, absolutely, for the length of the song.<\/span><\/p>\n

The song\u2019s feverish, distended mirror image, \u201cPlease Don\u2019t Pass Me By (A Disgrace)\u201d appears on side two of\u00a0<\/span>Live Songs<\/em>. I\u2019ve always heard it, because of its placement and linguistic echo, as a response to \u201cPassing Through.\u201d Another sing-along, it replaces the earlier song\u2019s sanguine assurance that all suffering is temporary with an urgent and disturbed plea not to let things go, to remain alert to the world\u2019s agony and injustice, from a blind man on the corner in New York City to \u201cthe Jews and the Gypsies and the smoke that they made.\u201d He vamps and ad-libs for almost thirteen minutes. Things get increasingly personal and intense as the song goes on: \u201cI know that you still think there\u2019s somebody else. I know that these words aren\u2019t yours. But I tell you, friends, one day, you\u2019re gonna get down on your knees. You\u2019re gonna get down on your knees \u2026\u201d He repeats this nine times, then hollers the chorus in desperation as his backup singers half-heartedly try to cushion the mood with their harmonies. The performance segues into a self-annihilating monologue directed at the audience: \u201cMy friends, take my dignity. Take my form. Take my style. Take my honor. Take my courage. Take my time, take my time \u2026\u201d He sounds like a man in crisis, clinging to something slipping away. As the song peters out, the band and singer exhausted, the audience roars.<\/span><\/p>\n

I don\u2019t doubt, in this case, his level of sincerity. It was the third time he\u2019d played the song live, and he never played it again.<\/span><\/p>\n

 <\/p>\n

Andrew Martin is the author of the novel<\/span><\/em>\u00a0<\/span><\/span>Early Work\u00a0<\/span>and the story collection<\/em>\u00a0<\/span>Cool for America.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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