{"id":3071,"date":"2019-08-31T17:42:23","date_gmt":"2019-08-31T08:12:23","guid":{"rendered":"https:\/\/murraybramwell.com\/?p=3071"},"modified":"2019-09-13T17:45:19","modified_gmt":"2019-09-13T08:15:19","slug":"the-hutt-valley-takes-manhattan","status":"publish","type":"post","link":"https:\/\/murraybramwell.com\/?p=3071","title":{"rendered":"The Hutt Valley takes Manhattan&#8230;"},"content":{"rendered":"<p>Book of Cohen<br \/>\nDavid Cohen on Leonard Cohen<br \/>\nSteele Roberts Publishers<br \/>\nISBN 978-0-947493-88-2<br \/>\n188 pp. RRP $29.99.<\/p>\n<p><em>Book of Cohen<\/em> is a singular volume with multiple objectives. \u201cThis was always going to be a work by one Cohen (that would be me) on another Cohen (that would be Leonard)\u201d. \u201cI\u2019ve always been Cohen-mad\u201d the author confides, \u201cBut there was another Cohen lurking in the picture as well.\u201d<\/p>\n<p>The title echoes Leonard\u2019s biblical and liturgical inclination \u2013 <em>Book of Longing, The Song of Isaac, Who by Fire<\/em> \u2013 and rather than intending to be solemn, it invokes the same Leonard ironies. But, we are also told in David Cohen\u2019s elliptical <em>Intro,<\/em> that while this book explores Leonard Cohen\u2019s music, it is not a work of analysis, \u201cI\u2019ve \u2026 tried to stay away from mining lyrics for meanings other than what they clearly seem to be about.\u201c Nor is it a biographical study. \u201cSylvie Simmonds has already produced a definitive one.\u201d<\/p>\n<p>Cohen (David) suggests other descriptions. His book is \u201ca collection of meditations\u201d in which, \u201ctime can\u2019t really be measured in tiny little boxes of past, present and future.\u201d Elsewhere he says, \u201cIt\u2019s a series of snapshots\u201d. Then, before explaining the book has its origins in \u201ca deeply strange dream\u201d, he shrugs and says \u2013 \u201cThese fragments have been assembled in a way that\u2019s relevant to me, including space near the start about my own background as a Cohen. It\u2019s a memoir after all. \u201c<\/p>\n<p>I am dwelling on these tentative prefatory musings because I sense that the writer is not sure if this clutch bag of recollections, anecdotes, esoteric Jewish lore and liturgy, scriptural elucidations, fan gossip, and panegyrics to the Tower of Song, will actually fly. It\u2019s a fair question. The answer, as far as this reader is concerned, is yes, it does; sometimes buffeting in a headwind of its own digressive making, but other times soaring in remarkable and memorable ways.<\/p>\n<p>Using a sequence of Leonard\u2019s song titles as chapter headings, Cohen dives deep with his first selection- <em>You Want it Darker<\/em>. It is the title of The Master\u2019s deathbed album. Completed by his son Adam when Leonard was too ill with cancer and depression to continue the project, like Bowie\u2019s <em>Blackstar<\/em> it is a reminder that, these days, pop can take us to the edge of the grave. (It has, it must be said, always been able to take us beyond.)<\/p>\n<p>David Cohen, the celebrated journalist and seasoned music critic, writes evocatively about his subject. He nods his cap to the veteran American commentator Robert Christgau, but you sense he also knows his Lester Bangs, and the gonzo Rolling Stone crew, when he gets into his stylistic stride. It is that post-1967 ragout of the personal, the political and the laconically poetic.<\/p>\n<p>He parses the cover photo of the <em>You Want it Darker<\/em> CD which \u201chas the 82-year old perched in a window somewhere high above Boogie Street. Double breasted suit. Hat tilted just so. Lighted cigarette in hand. Same as he ever was. Except that he isn\u2019t.\u201d<\/p>\n<p>The chapter concludes with David\u2019s RNZ obituary for Leonard, written in the raw hours after his death is announced. He describes it as tremulous, but it is what makes for great music writing \u2013 navigating that treacherously narrow channel between pathos and the glug of bathos. When he says \u201cIt doesn\u2019t get much darker than this\u201d we know what he means.<\/p>\n<p><em>Love Calls You By Your Name<\/em> which follows, is a briskly paced family history. The etymology (and DNA) of the Cohens is explored, as is the pattern of Jewish flight from religious persecution, and migration from Russia to Northern England, Wales \u2013 and then, as described in <em>The Favourite Game<\/em> section (the title of a Leonard novel) &#8211; the birth and early life of David Cohen in the Hutt Valley. These are fine examples of compressed memoir. The tensions of the family life of young \u00e9migr\u00e9 parents, in personal turmoil against a background of alien Kiwi suburban drabness, are deftly described. Details are sparing but vivid. The father soon leaves the family, a discontinuous narrative picked up later in the book with intriguing but almost maddening brevity. Similarly, the reference to David\u2019s time as a juvenile in state care, documented in detail in his 2016 publication, <em>Little Criminals<\/em>, is a fleeting and almost surreal aside.<\/p>\n<p><em>The Story of Isaac<\/em> is a brief history of Leonard. It is about his unlikely entry into the world of rock music (and the Chelsea<\/p>\n<p>Hotel !) \u2013 as a Canadian, as a pre-existing author and poet, and, at an age older than Jesus. It is also about fathers (a David theme, of course). The close discussion of <em>The Story of Isaac<\/em>, and the theme of sacrifice and war, pays lucid tribute to a peerless song.<\/p>\n<p>A cluster of chapters, from <em>Avalanche<\/em>, the opening track from <em>Songs of Love and Hate<\/em>, which was David\u2019s first enveloping encounter with Leonard\u2019s work, through <em>Ain\u2019t No Cure for Love<\/em>, to <em>Famous<\/em> <em>Blue Raincoat<\/em> are highlights in this collection. The Leonard exegesis is sharp, the digressions to the Go-Betweens, Nick Cave, Simone Weil and the singer\u2019s affinity with the wry comedy of Joyce\u2019s Leopold Bloom, are tantalising. David\u2019s pilgrimages to Montreal and New York described in <em>Suzanne<\/em> and <em>Chelsea Hotel<\/em> are shrewdly drawn sketches of the author from the Hutt Valley exploring the stations of the Leonard criss-cross.<\/p>\n<p>You don\u2019t have to be a Leonard Cohen devotee to relish <em>Book<\/em> <em>of Cohen<\/em>, although it definitely helps. It is a rich, discursive, bravely vulnerable essay on Old Ideas and Popular Problems and also, it\u2019s as dark as you need; which is to say &#8211; just enough.<\/p>\n<p>\u201cThe Hutt Valley takes Manhattan\u2026\u201d <em>New Zealand Review of<\/em> <em>Books<\/em> <em>Pukapuka Aotearoa<\/em>, Volume 29, Number 3, Issue No.27, Spring, 2019.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Book of Cohen David Cohen on Leonard Cohen Steele Roberts Publishers ISBN 978-0-947493-88-2 188 pp. RRP $29.99. Book of Cohen is a singular volume with multiple objectives. \u201cThis was always going to be a work by one Cohen (that would be me) on another Cohen (that would be Leonard)\u201d. \u201cI\u2019ve always been Cohen-mad\u201d the author confides, \u201cBut there was another Cohen lurking in the picture as well.\u201d The title echoes Leonard\u2019s biblical and liturgical inclination \u2013 Book of Longing, The [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[39,5,20],"tags":[],"class_list":["post-3071","post","type-post","status-publish","format-standard","hentry","category-39","category-archive","category-books"],"_links":{"self":[{"href":"https:\/\/murraybramwell.com\/index.php?rest_route=\/wp\/v2\/posts\/3071","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/murraybramwell.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/murraybramwell.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/murraybramwell.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/murraybramwell.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3071"}],"version-history":[{"count":1,"href":"https:\/\/murraybramwell.com\/index.php?rest_route=\/wp\/v2\/posts\/3071\/revisions"}],"predecessor-version":[{"id":3072,"href":"https:\/\/murraybramwell.com\/index.php?rest_route=\/wp\/v2\/posts\/3071\/revisions\/3072"}],"wp:attachment":[{"href":"https:\/\/murraybramwell.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3071"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/murraybramwell.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3071"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/murraybramwell.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3071"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}