{"id":160487,"date":"2022-06-30T11:36:08","date_gmt":"2022-06-30T15:36:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=160487"},"modified":"2022-07-01T12:39:39","modified_gmt":"2022-07-01T16:39:39","slug":"a-laborer-called-a-writer-on-leonard-cohen","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/06\/30\/a-laborer-called-a-writer-on-leonard-cohen\/","title":{"rendered":"A Laborer Called a Writer: On Leonard Cohen"},"content":{"rendered":"
\"\"<\/a>

Mount Baldy in clouds. Photograph by josephmachine<\/a>. Licensed under CC0 4.0. <\/a><\/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\u2019re<\/em> p<\/em>ublishing a series of short reflections on his life and work.<\/i><\/p>\n

On \u201cTower of Song\u201d\u00a0(1988), Leonard Cohen\u2019s weary croak cracks the joke: \u201cI was born like this \/ I had no choice \/ I was born with the gift of a golden voice.\u201d He can\u2019t quite sustain his own melody, but some of us remain enchanted\u2014and not merely by his self-effacement. The irony, we suspect, involves us, too. Choicelessness is one of his great themes: we don\u2019t choose our blessings or our deficits, and we don\u2019t choose our material conditions. Fine. But Leonard Cohen takes it further: maybe we can\u2019t even control the impulse to defy<\/em> our deficits, to work against the grain of what we\u2019ve been given. We feel sentenced to sing even without a golden voice\u2014by our own unruly desires, or by \u201ctwenty-seven angels from the great beyond.\u201d<\/em>\u00a0The metaphorical cause matters less than the effect: \u201cThey tied me to this table right here in the Tower of Song.\u201d<\/p>\n

Leonard Cohen came to music late, at least compared to his countercultural contemporaries. Bob Dylan was twenty-one when he released his first album; Leonard Cohen was thirty-three. He struggled to adapt his literary strategies to the new form. Even before his baritone stiffened with age, there was something workmanlike in his sensuous, spiritual, serious songs\u2014not just in his delivery, but in his compositional structure, his preference for the heavy-handed end rhyme. Park <\/em>\/ dark. Alone <\/em>\/ stone. Pinned <\/em>\/ sin. Soon<\/em> \/ moon. <\/em>He never made much use of slant rhyme, syncopation, or any of the sinuous tricks of great vocalists from the blues tradition. The second verse of \u201cTonight Will Be Fine\u201d (1969) seems to describe the monastic simplicity of his compositions: \u201cI choose the rooms that I live in with care \/ The windows are small and the walls almost bare \/ There\u2019s only one bed and there\u2019s only one prayer \/ I listen all night for your step on the stair.\u201d For me, Leonard Cohen\u2019s voice is that step on the stair\u2014stumbling through the song\u2019s tidy rooms, making the floorboards groan. His flatfooted rhythm makes wisdom\u2019s weight hit harder.<\/p>\n

I sometimes think of Leonard Cohen seated like a stone on Mount Baldy, where he became an actual monk in 1994 and where he lived for five years. I know a guy who studied at the same monastery. He would try to catch the singer stirring during morning meditation\u2014even just breathing\u2014but his stillness seemed absolute. This discipline frightens me, though it must have been hard-won. I like his songs because they let us overhear the rage and desire rattling discipline\u2019s wooden frame: \u201cI\u2019m interested in things that contribute to my survival,\u201d Cohen told<\/a> David Remnick. He liked the Beatles just fine, but he needed <\/em>Ray Charles. And I need Leonard Cohen\u2014not the Zen master, but \u201cthis laborer called a writer\u201d (his words) arduously working through a voice too plain for his own poetry. He keeps me company in the difficult silence between my own sentences. \u201cI can hear him coughing all night long, \/ a hundred floors above me in the Tower of Song.\u201d\u00a0We\u2019re both still straining\u2014sweetly\u2014for the music.<\/p>\n

\u00a0<\/em><\/p>\n

Carina del Valle Schorske is a literary translator and a contributing writer at <\/em>The New York Times Magazine. Her debut essay collection<\/em>,\u00a0The Other Island,\u00a0is forthcoming from Riverhead.\u00a0<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cThat flatfooted rhythm makes his wisdom\u2019s weight hit harder.\u201d<\/p>\n","protected":false},"author":1373,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68479],"tags":[24555,4219,20290,67827,5250,8903,40468],"class_list":["post-160487","post","type-post","status-publish","format-standard","hentry","category-on-leonard-cohen","tag-about-poetry","tag-bob-dylan","tag-discipline","tag-featured","tag-leonard-cohen","tag-monasteries","tag-songs-of-leonard-cohen"],"acf":[],"yoast_head":"\nA Laborer Called a Writer: On Leonard Cohen by Carina del Valle Schorske<\/title>\n<meta name=\"description\" content=\"June 30, 2022 \u2013 \u201cThat flatfooted rhythm makes his wisdom\u2019s weight hit harder.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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