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Gone were her closed eyes, the gentle sway of her angular body, the Auvillar chapel, that moment in time.
Cohen’s recorded version sounded wetter, more languid, his voice trailing a split second behind the melody which the guitar pushed forward.
I couldn’t remember the platinum-haired poet’s name, but I heard traces of her in the recording, too — the same low, distant quality.
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That mysterious character of Suzanne appears earlier in the collection, I notice, on page 31, in “Suzanne wears a leather coat.” The collection’s poems are all titled by their first lines. The Suzanne I’ve come to know, I realize, doesn’t have a body.
The verse feels vulgar to me after knowing the song. The song lyrics are printed toward the end of the collection, in “Suzanne takes you down.” I found those familiar incantatory words with relief.
They follow a conventional meter and form but contain intense messages that create a startling contrast.
His later works delve into social and historical issues. Why then does the poet even suggest that a mass murderer is worthy of colorful blooms?
Billy Ray Cyrus | Dominique | Ingénieur Informaticien | La Paloma Adieu | Je Ne Savais Pas | Comme Un Boomerang | Hotel California | Match Nul | J'ai Tant Besoin De Toi | Prince Ali!
Leonard Cohen celebrates the personal, historical, and sexual.