{"id":160436,"date":"2022-06-28T16:00:05","date_gmt":"2022-06-28T20:00:05","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160436"},"modified":"2022-07-08T11:15:32","modified_gmt":"2022-07-08T15:15:32","slug":"a-luxury-candle-on-leonard-cohen","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/28\/a-luxury-candle-on-leonard-cohen\/","title":{"rendered":"The Other Side of Pleasure: On Leonard Cohen"},"content":{"rendered":"
\"\"<\/a>

Photograph copyright gudenkoa<\/a>, via Adobe Stock.<\/p><\/div>\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

If apocalypse were at hand, would you choose to light a seventy-dollar Bois Cire scented candle by your bed and leaf through a Penguin Classics copy of George Herbert’s\u00a0The Temple<\/em>\u00a0<\/span>as the air conditioner ran on high, \u201cWho By Fire\u201d playing softly on your phone, the world slowly sifting itself down to ash? Some of us might. Some of us would. Leonard Cohen embraced the spiritual and the carnal, and his aching insistence on chasing pleasure at the edges of oblivion has made his voice ever more seductive\u2014comforting, troubling\u2014since his death in 2016.\u00a0<\/span><\/p>\n

That we are now at the edge of several oblivions needs no elaboration. The question of pleasure remains\u2014what we might do with it, since we are all but numb to spectacular shock, and whether it can or should be comforting. I first heard Jeff Buckley\u2019s version of \u201cHallelujah\u201d as a teenager, before I heard Cohen\u2019s original. At the time I preferred the cover; its beauty was immediate, seamless, intoxicating. But over time I\u2019ve come to love Cohen\u2019s churchly lounge act for the opposite reasons. There\u2019s something uncanny in the synthetic sheen and gravel of Cohen\u2019s track\u2014a self-negating camp performance of spiritual grandeur that erases the line between rapture and sleaze.<\/span><\/p>\n

And on the other side of pleasure\u2014a luxury candle, poetry, air-conditioning\u2014there is often both rapture and sleaze: tender depravity. How much of it are we willing to accept? A lot, maybe. While there\u2019s a time for the sensuous charms of \u201cSuzanne\u201d and \u201cSo Long, Marianne,\u201d I\u2019ve always been drawn to the songs in which Cohen allowed himself to sound unhinged. In \u201cDiamonds in the Mine\u201d he is an unlikely vector of proto-punk rage, particularly at the end, as he genuinely screams his way through the final refrain\u2014\u201cAnd there are no letters in the mailbox \/ And there are no grapes upon the vine\u201d\u2014in an atonal vocal shred, his unfazed backup singers hoisting up the chorus\u2019s sunny melody behind him, a spring breeze blowing through a nuclear meltdown. Amid the decadent, Oedipal party music of \u201cDon\u2019t Go Home With Your Hard-On,\u201d he snarls, \u201cIt will only drive you insane \/ You can\u2019t shake it or break it with your Motown \/ You can\u2019t melt it down in the rain\u201d\u2014a meltdown of a different order.<\/span><\/p>\n

He was fatalistic, but he wasn\u2019t a nihilist. In a Leonard Cohen song pleasure comes at a price. In \u201cTower of Song,\u201d he sings, \u201cYou can say I have grown bitter, but of this you may be sure \/ The rich have got their channels in the bedrooms of the poor \/ And there\u2019s a mighty judgment coming\u2014but I may be wrong.\u201d You paid seventy dollars for that candle; you may as well take a big whiff as you burn it down. There is pleasure of the spirit and pleasure of the flesh, and here on Earth they are forever intertwined. Is that comforting? \u201cYou want it darker,\u201d he intones on his final album, released just weeks before his death, \u201cwe kill the flame.\u201d He is blowing out the candle and crooning us into the abyss as we try, in our way, to be free.<\/span><\/p>\n

 <\/p>\n

Daniel Poppick is the author of<\/span><\/em>\u00a0the National Poetry Series winner\u00a0<\/em><\/span><\/span>Fear of Description\u00a0and of<\/em>\u00a0<\/span>The Police.<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201dOn the other side of pleasure\u2014a luxury candle, poetry, air conditioning\u2014there is often both rapture and sleaze.\u201c<\/p>\n","protected":false},"author":2259,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68479],"tags":[68474,5250,46,40468],"class_list":["post-160436","post","type-post","status-publish","format-standard","hentry","category-on-leonard-cohen","tag-daniel-poppick","tag-leonard-cohen","tag-music","tag-songs-of-leonard-cohen"],"acf":[],"yoast_head":"\nThe Other Side of Pleasure: On Leonard Cohen by Daniel Poppick<\/title>\n<meta name=\"description\" content=\"June 28, 2022 \u2013 \u201dOn the other side of pleasure\u2014a luxury candle, poetry, air conditioning\u2014there is often both rapture and sleaze.\u201c\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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