The Words and Work of Leonard Cohen

For those who were thinking 2016 couldn’t get any worse, it just did. Last night, Leonard Cohen, beloved poet, songwriter, musician and novelist, died at 82, less than a month after the release of his new album You Want it Darker. While he’ll go down in history as one of our greatest songwriters and performers, Cohen began his career in the arts as a poet, something unlikely to shock anyone who has listened to his music. To celebrate his life and work, read some of his poems or, since poetry is meant to be heard, listen to a few recitations given by the man himself.

Hydra 1960

Anything that moves is white,
a gull, a wave, a sail,
and moves too purely to be aped.
Smash the pain.

Never pretend peace.
The consolumentum has not,
never will be kissed. Pain
cannot compromise this light.

Do violence to the pain,
ruin the easy vision,
the easy warning, water
for those who need to burn.

These are ruthless: rooster shriek,
bleached goat skull.
Scalpels grow with poppies
if you see them truly red.

From Flowers for Hitler, 1964

This Marriage

I said. Because it is so horrible between us I will go and stop Egypt’s bullet. She said. That’s beautiful. Then I can commit suicide and the child falls into strangers’ hands. Great, I said. Yug, yug, yug, she said. What you did to me, I said. The lonely, we said. The nights of hands on ourselves. Your unkindness, we said. Your greed. Your unkindness. Your bitter tongue. Give me time. You never learn. Your ancestors. My ancestors. Fuck you, I said. You shit. Stop screaming. I can’t stand it. You can’t stand anything. Nobody can live like this. In front of the child. Let him learn. This is no good. Yer fuckin right it’s no good. This kitchen was once beautiful. Oil lamps, order, the set table. Sabbath observed. That’s what I want. You don’t want it. You don’t know what I want. You don’t know anything about me. You never did. Not in the beginning. Not now.
In the realms where this marriage was sealed, where the wedding feast goes on and on, where Adam and Eve face one another, the foundations are faultless and secure, your beast’s hair flares like black fire upward and your breasts, now in maidenhood, now in motherhood, draw down my face, our hunger blessed by sun and moon, a ring of dancers round the house where within the room is hid, where within the bed is undone, whereupon the hunger’s joined, where within the hunger speaks precise instructions to the chosen ones who cannot leave each other.

From Death of a Lady’s Man, 1978

All There is to Know About Adolph Eichmann

EYES:……………………………………Medium
HAIR:……………………………………Medium
WEIGHT:………………………………Medium
HEIGHT:………………………………Medium
DISTINGUISHING FEATURES…None
NUMBER OF FINGERS:………Ten
NUMBER OF TOES………………Ten
INTELLIGENCE……………………Medium

What did you expect?

Talons?

Oversize incisors?

Green saliva?

Madness?

From Flowers for Hitler, 1964

The Only Poem

This is the only poem
I can read
I am the only one
can write it
I didn’t kill myself
when things went wrong
I didn’t turn
to drugs or teaching
I tried to sleep
but when I couldn’t sleep
I learned to write
I learned to write
what might be read
on nights like this
by one like me

From The Energy of Slaves, 1972

I Wonder How Many People in This City

I wonder how many people in this city
live in furnished rooms.
Late at night when I look out at the buildings
I swear I see a face in every window
looking back at me
and when I turn away
I wonder how many go back to their desks
and write this down.

From The Spice-Box of Earth, 1961

These Heroics

If I had a shining head
and people turned to stare at me
in the streetcars;
and I could stretch my body
through the bright water
and keep abreast of fish and water snakes;
if I could ruin my feathers
in flight before the sun;
do you think that I would remain in this room,
reciting poems to you,
and making outrageous dreams
with the smallest movements of your mouth?

From Let Us Compare Mythologies, 1956

Song

I almost went to bed
without remembering
the four white violets
I put in the button-hole
of your green sweater
and how i kissed you then
and you kissed me
shy as though I’d
never been your lover

From The Spice-Box of Earth, 1961

Poem

I heard of a man
who says words so beautifully
that if he only speaks their name
women give themselves to him.
If I am dumb beside your body
while silence blossoms like tumors on our lips.
it is because I hear a man climb stairs and clear his throat outside the door.

From Let Us Compare Mythologies, 1956

I Have Not Lingered In European Monasteries

I have not lingered in European monasteries
and discovered among the tall grasses tombs of knights
who fell as beautifully as their ballads tell;
I have not parted the grasses
or purposefully left them thatched.
I have not held my breath
so that I might hear the breathing of God
or tamed my heartbeat with an exercise,
or starved for visions.
Although I have watched him often
I have not become the heron,
leaving my body on the shore,
and I have not become the luminous trout,
leaving my body in the air.
I have not worshipped wounds and relics,
or combs of iron,
or bodies wrapped and burnt in scrolls.
I have not been unhappy for ten thousands years.
During the day I laugh and during the night I sleep.
My favourite cooks prepare my meals,
my body cleans and repairs itself,
and all my work goes well.

From The Spice-Box of Earth, 1961

Days of Kindness

Greece is a good place
to look at the moon, isn’t it
You can read by moonlight
You can read on the terrace
You can see a face
as you saw it when you were young
There was good light then
oil lamps and candles
and those little flames
that floated on a cork in olive oil
What I loved in my old life
I haven’t forgotten
It lives in my spine
Marianne and the child
The days of kindness
It rises in my spine
and it manifests as tears
I pray that loving memory
exists for them too
the precious ones I overthrew
for an education in the world

From Stranger Music, 1956

How to Speak Poetry

Take the word butterfly. To use this word it is not necessary to make the voice weigh less than an ounce or equip it with small dusty wings. It is not necessary to invent a sunny day or a field of daffodils. It is not necessary to be in love, or to be in love with butterflies. The word butterfly is not a real butterfly. There is the word and there is the butterfly. If you confuse these two items people have the right to laugh at you. Do not make so much of the word. Are you trying to suggest that you love butterflies more perfectly than anyone else, or really understand their nature? The word butterfly is merely data. It is not an opportunity for you to hover, soar, befriend flowers, symbolize beauty and frailty, or in any way impersonate a butterfly. Do not act out words. Never act out words. Never try to leave the floor when you talk about flying. Never close your eyes and jerk your head to one side when you talk about death. Do not fix your burning eyes on me when you speak about love. If you want to impress me when you speak about love put your hand in your pocket or under your dress and play with yourself. If ambition and the hunger for applause have driven you to speak about love you should learn how to do it without disgracing yourself or the material.

What is the expression which the age demands? The age demands no expression whatever. We have seen photographs of bereaved Asian mothers. We are not interested in the agony of your fumbled organs. There is nothing you can show on your face that can match the horror of this time. Do not even try. You will only hold yourself up to the scorn of those who have felt things deeply. We have seen newsreels of humans in the extremities of pain and dislocation. Everyone knows you are eating well and are even being paid to stand up there. You are playing to people who have experienced a catastrophe. This should make you very quiet. Speak the words, convey the data, step aside. Everyone knows you are in pain. You cannot tell the audience everything you know about love in every line of love you speak. Step aside and they will know what you know because you know it already. You have nothing to teach them. You are not more beautiful than they are. You are not wiser. Do not shout at them. Do not force a dry entry. That is bad sex. If you show the lines of your genitals, then deliver what you promise. And remember that people do not really want an acrobat in bed. What is our need? To be close to the natural man, to be close to the natural woman. Do not pretend that you are a beloved singer with a vast loyal audience which has followed the ups and downs of your life to this very moment. The bombs, flame-throwers, and all the shit have destroyed more than just the trees and villages. They have also destroyed the stage. Did you think that your profession would escape the general destruction? There is no more stage. There are no more footlights. You are among the people. Then be modest. Speak the words, convey the data, step aside. Be by yourself. Be in your own room. Do not put yourself on.

This is an interior landscape. It is inside. It is private. Respect the privacy of the material. These pieces were written in silence. The courage of the play is to speak them. The discipline of the play is not to violate them. Let the audience feel your love of privacy even though there is no privacy. Be good whores. The poem is not a slogan. It cannot advertise you. It cannot promote your reputation for sensitivity. You are not a stud. You are not a killer lady. All this junk about the gangsters of love. You are students of discipline. Do not act out the words. The words die when you act them out, they wither, and we are left with nothing but your ambition.

Speak the words with the exact precision with which you would check out a laundry list. Do not become emotional about the lace blouse. Do not get a hard-on when you say panties. Do not get all shivery just because of the towel. The sheets should not provoke a dreamy expression about the eyes. There is no need to weep into the handkerchief. The socks are not there to remind you of strange and distant voyages. It is just your laundry. It is just your clothes. Don’t peep through them. Just wear them.

The poem is nothing but information. It is the Constitution of the inner country. If you declaim it and blow it up with noble intentions then you are no better than the politicians whom you despise. You are just someone waving a flag and making the cheapest kind of appeal to a kind of emotional patriotism. Think of the words as science, not as art. They are a report. You are speaking before a meeting of the Explorers’ Club of the National Geographic Society. These people know all the risks of mountain climbing. They honor you by taking this for granted. If you rub their faces in it that is an insult to their hospitality. Tell them about the height of the mountain, the equipment you used, be specific about the surfaces and the time it took to scale it. Do not work the audience for gasps and sighs. If you are worthy of gasps and sighs it will not be from your appreciation of the event but from theirs. It will be in the statistics and not the trembling of the voice or the cutting of the air with your hands. It will be in the data and the quiet organization of your presence.

Avoid the flourish. Do not be afraid to be weak. Do not be ashamed to be tired. You look good when you’re tired. You look like you could go on forever. Now come into my arms. You are the image of my beauty.

From Death of a Lady’s Man, 1978