‘Now Suzanne … leads you to the river … And the sun pours down … on our lady of the harbour’ (Leonard Cohen) … fishing boats tied up in Wexford (Photograph: Patrick Comerford)
Patrick Comerford
We are in the countdown to Christmas in the Church. Sunday was the Second Sunday of Advent (10 December 2023), and there are just 13 days to go to Christmas.
Throughout Advent this year, my reflections each day include a poem or song by Leonard Cohen. These Advent reflections are following this pattern:
1, A reflection on a poem or song by Leonard Cohen;
2, the Gospel reading of the day in the Church of England lectionary;
3, a prayer from the USPG prayer diary.
‘When they got into the boat, the wind ceased’ (Matthew 14: 32) … a gondolier on the Grand Canal in Venice (Photograph: Patrick Comerford)
The Songs and Poems of Leonard Cohen: 10, ‘Suzanne’:
As I was preparing this morning’s Advent reflection, reading and prayers, the Gospel reading for the Eucharist today (Matthew 14: 13-36) constantly brought me back to Leonard Cohen’s poem and song ‘Suzanne’, with its images of lovers walking by rivers and harbours and of Jesus walking on the water, knowing ‘only drowning men could see him’
‘Suzanne’ is a haunting composition and over the years has become one of the best known works by the Canadian poet singer and songwriter Leonard Cohen, who was born in 1934.
Like many of Leonard Cohen’s songs, ‘Suzanne’ began as poem. Cohen published his first book of poetry, Let Us Compare Mythologies (1956) at the age of 22. This was followed by The Spice-Box of Earth (1961), Flowers for Hitler (1964), and his novels The Favourite Game (1963) and Beautiful Losers (1966).
‘Suzanne’ was first published in 1966 as the poem ‘Suzanne Takes You Down’ in his third poetry collection, Parasites of Heaven (1966). Judy Collins recorded ‘Suzanne’ for her album In My Life, released in November 1966. A year later, Cohen included the song as the first track on Side A of his debut album, Songs of Leonard Cohen, released on 27 December 1967.
The album’s front cover depicts a sepia tint photo of Leonard Cohen. The back cover of the album is a Mexican religious picture of the Anima Sola depicted as a woman breaking free of her chains surrounded by flames and gazing towards heaven. In a Rolling Stone interview, he described the image as ‘the triumph of the spirit over matter. The spirit being that beautiful woman breaking out of the chains and the fire and prison.’
‘Suzanne’ was released as a single in 1968, but only reached the charts after he died in 2016.
Suzanne has become one of the most covered songs in Cohen’s catalogue. Far Out and American Songwriter ranked the song No 4 and No 2, respectively, on their lists of the 10 greatest Leonard Cohen songs. In 2021, it was ranked at No 284 on Rolling Stone’s ‘Top 500 Greatest Songs of All Time.’
Leonard Cohen had a lengthy relationship with the Los Angeles artist Suzanne Elrod in the 1970s. But he later said ‘cowardice’ and ‘fear’ prevented him from ever marrying her. They had two children, Adam (born in 1972) and Lorca (born in 1974), a daughter named after the poet Federico García Lorca.
Leonard Cohen and Suzanne Elrod had split by 1979. But contrary to popular belief, ‘Suzanne’, which one of his best-known songs, refers not to Suzanne Elrod, but to the dancer Suzanne Verdal, the former wife of his friend, the Québécois sculptor Armand Vaillancourt.
The song’s brilliance lies in its pairing of a spare, hypnotic melody with evocative lyrics:
Now Suzanne takes you down
To her place near the river
You can hear the boats go by
You can spend the night beside her
And you know she’s half crazy.
In Cohen’s version, first recorded on his 1968 album, Songs of Leonard Cohen, the mood is underscored by a lilting female chorus and Cohen’s own subtle, insistent guitar playing. Cohen recalls ‘Suzanne,’ the enigmatic title figure, who wears ‘rags and feathers from Salvation Army counters.’
‘Suzanne’ was inspired by Cohen’s platonic relationship with Suzanne Verdal and the lyrics describe the rituals that they enjoyed when they met. She would invite him to visit her apartment by the harbour in Montreal, where she would serve him Constant Comment tea, and feed him ‘oranges that come all the way from China.’
Together, they savoured the beautiful view of the St Lawrence River from her waterfront apartment in Montreal, and they would walk around Old Montreal past the Church of Notre-Dame-de-Bon-Secours, where sailors were blessed before heading out to sea.
Other details speak of a romantic longing that, seemingly, remained unfulfilled:
And you want to travel with her
and you want to travel blind …
for you’ve touched her perfect body
with your mind.
The hunger these two gifted people had for one another illuminates the lyrics, giving them a spark that seems to resonate from the inside. On a human level, the song is about the mysterious forces that bring people together and, then, just as inexplicably, move them apart. ‘Suzanne’ can be heard or read as a statement of human frailty, representing a special moment in time, created by two people whose mutual attraction was not fulfilled in a physical sense, but still fulfilled in an emotional, deeper, way.
Verdal went on to travel the world, going from Montreal to France to Texas, and, finally, by the early 1990s, to Los Angeles, where she worked as a choreographer. Cohen said in a BBC interview in 1994 that he only imagined having sex with her, as there was neither the opportunity nor inclination to actually go through with it.
A fall and injury ended her career as a dancer. By 2006, she was living in a converted truck in Venice Beach, California. That year she told a CBC interview that she had ‘put the boundaries’ on the relationship with Cohen. She said then that they never had a sexual relationship, contrary to what some interpretations of the song suggest: ‘Somehow, I didn’t want to spoil that preciousness, that infinite respect that I had for him … I felt that a sexual encounter might demean it somehow.’
Despite beginning as a story of love and infatuation, Suzanne turns to a religious theme in the second verse:
And Jesus was a sailor
when he walked upon the water …
His ‘lonely wooden tower’ is, of course, the cross. Cohen is so fascinated by Jesus that he writes:
And you want to travel with him
you want to travel blind
and you think maybe you’ll trust him
for he’s touched your perfect body
with his mind.
The stanza ends in the most tragic and cryptic lines of the poem, as the voice returns to a third person of Jesus:
But he himself was broken
Long before the sky would open
Forsaken, almost human
He sank beneath your wisdom like a stone
This must refer to the crucifixion and the burial. He was ‘forsaken almost human.’ Despite being divine he is also human.
‘She is wearing rags and feathers / From Salvation Army counters’ (Leonard Cohen) … the Salvation Army shop on Market Street in Lichfield (Photograph: Patrick Comerford, 2023)
Leonard Cohen, Suzanne:
Suzanne takes you down
To her place near the river
You can hear the boats go by
You can spend the night beside her
And you know that she’s half-crazy
But that’s why you want to be there
And she feeds you tea and oranges
That come all the way from China
And just when you mean to tell her
That you have no love to give her
Then she gets you on her wavelength
And she lets the river answer
That you’ve always been her lover
And you want to travel with her
And you want to travel blind
And you know that she will trust you
For you’ve touched her perfect body with your mind
And Jesus was a sailor
When he walked upon the water
And he spent a long time watching
From his lonely wooden tower
And when he knew for certain
Only drowning men could see him
He said ‘All men will be sailors then
Until the sea shall free them’
But he himself was broken
Long before the sky would open
Forsaken, almost human
He sank beneath your wisdom like a stone
And you want to travel with him
And you want to travel blind
And you think maybe you’ll trust him
For he’s touched your perfect body with his mind
Now Suzanne takes your hand
And she leads you to the river
She is wearing rags and feathers
From Salvation Army counters
And the sun pours down like honey
On our lady of the harbour
And she shows you where to look
Among the garbage and the flowers
There are heroes in the seaweed
There are children in the morning
They are leaning out for love
And they will lean that way forever
While Suzanne holds the mirror
And you want to travel with her
And you want to travel blind
And you know you can trust her
For she’s touched your perfect body with her mind.
‘Peace. Be still’ … Christ calming the storm … the Cameron window in Saint Seiriol’s Priory Church, Penmon, Anglesey … see Matthew 14: 22-33 (Photograph: Patrick Comerford)
Matthew 14: 13-36 (NRSVA):
13 Now when Jesus heard this, he withdrew from there in a boat to a deserted place by himself. But when the crowds heard it, they followed him on foot from the towns. 14 When he went ashore, he saw a great crowd; and he had compassion for them and cured their sick. 15 When it was evening, the disciples came to him and said, ‘This is a deserted place, and the hour is now late; send the crowds away so that they may go into the villages and buy food for themselves.’ 16 Jesus said to them, ‘They need not go away; you give them something to eat.’ 17 They replied, ‘We have nothing here but five loaves and two fish.’ 18 And he said, ‘Bring them here to me.’ 19 Then he ordered the crowds to sit down on the grass. Taking the five loaves and the two fish, he looked up to heaven, and blessed and broke the loaves, and gave them to the disciples, and the disciples gave them to the crowds. 20 And all ate and were filled; and they took up what was left over of the broken pieces, twelve baskets full. 21 And those who ate were about five thousand men, besides women and children.
22 Immediately he made the disciples get into the boat and go on ahead to the other side, while he dismissed the crowds. 23 And after he had dismissed the crowds, he went up the mountain by himself to pray. When evening came, he was there alone, 24 but by this time the boat, battered by the waves, was far from the land, for the wind was against them. 25 And early in the morning he came walking towards them on the lake. 26 But when the disciples saw him walking on the lake, they were terrified, saying, ‘It is a ghost!’ And they cried out in fear. 27 But immediately Jesus spoke to them and said, ‘Take heart, it is I; do not be afraid.’
28 Peter answered him, ‘Lord, if it is you, command me to come to you on the water.’ 29 He said, ‘Come.’ So Peter got out of the boat, started walking on the water, and came towards Jesus. 30 But when he noticed the strong wind, he became frightened, and beginning to sink, he cried out, ‘Lord, save me!’ 31 Jesus immediately reached out his hand and caught him, saying to him, ‘You of little faith, why did you doubt?’ 32 When they got into the boat, the wind ceased. 33 And those in the boat worshipped him, saying, ‘Truly you are the Son of God.’
34 When they had crossed over, they came to land at Gennesaret. 35 After the people of that place recognized him, they sent word throughout the region and brought all who were sick to him, 36 and begged him that they might touch even the fringe of his cloak; and all who touched it were healed.
‘We have nothing here but five loaves and two fish’ (Matthew 14: 17) … five loaves in a basket in Hindley’s bread shop in Lichfield (Photograph: Patrick Comerford, 2023)
Today’s Prayers (Tuesday 12 December 2023):
The theme this week in the new edition of ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘The Faith of Advent.’ This theme was introduced on Sunday.
The USPG Prayer Diary today (12 December 2023) invites us to pray as we reflect on these words:
Lord, we pray for unwavering faith as we journey through the season of Advent and as we approach the beginning of the new year.
‘And she feeds you tea and oranges / That come all the way from China’ (Leonard Cohen) … oranges on a market stall in Bologna (Photograph: Patrick Comerford)
The Collect:
O Lord, raise up, we pray, your power
and come among us,
and with great might succour us;
that whereas, through our sins and wickedness
we are grievously hindered
in running the race that is set before us,
your bountiful grace and mercy
may speedily help and deliver us;
through Jesus Christ your Son our Lord,
to whom with you and the Holy Spirit,
be honour and glory, now and for ever.
The Post-Communion Prayer:
Father in heaven,
who sent your Son to redeem the world
and will send him again to be our judge:
give us grace so to imitate him
in the humility and purity of his first coming
that, when he comes again,
we may be ready to greet him
with joyful love and firm faith;
through Jesus Christ our Lord.
Additional Collect:
Almighty God,
purify our hearts and minds,
that when your Son Jesus Christ comes again
as judge and saviour
we may be ready to receive him,
who is our Lord and our God.
Yesterday’s Reflection
Continued Tomorrow
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
12 December 2023
A chapter in a new book
on revolutionary years in
Limerick in 1912-2023
‘Histories of Protestant Limerick, 1912–1923’ … a chapter in a new book published in Limerick
Patrick Comerford
Limerick City and County Council’s Decade of Centenaries programme for 2023 continues with the publication of a new collection of essays edited by Dr Seán William Gannon, of Limerick City and County Library Service, and Dr Brian Hughes, of the Department of History at Mary Immaculate College, Limerick.
It is a privilege to be one of the contributors to Histories of Protestant Limerick, 1912–1923, which has been published in recent weeks. This is a collection of 10 original essays exploring the experience of Limerick’s Protestant communities during the revolutionary period, when they formed less than 5 percent of the population.
The essays in Histories of Protestant Limerick essays draw on a wide range of traditional and largely untapped local archival sources, including the archives of Saint Mary’s Cathedral, the Limerick Young Men’s Protestant Association, and the newly discovered papers of Robert Donough O’Brien, which are held in Mary Immaculate College, Limerick.
These chapters look at aspects of political, religious, economic, and social life in the city and county in 1912-1923, and they chart the courses taken by Limerick’s Protestant communities to meet the challenges that they faced during this time.
In my chapter (Chapter 6: ‘Church-goers in Limerick During War and Revolution’, pp 83-89), I take as my focus Limerick’s ordinary churches and their congregations and their experience of revolution and war.
Dr Ian d’Alton, a Visiting Research Fellow at the Centre for Contemporary Irish History, Trinity College, Dublin examines the unionist/loyalist politics central to Limerick Protestant life.
Dr John O’Callaghan, of the Atlantic Technological University, Sligo, discusses the anti-Protestant sectarianism to which these politics, amongst other factors, could give rise.
The Revd Robin Roddie, the archivist of the Methodist Historical Society of Ireland, documents the revolutionary experience of Limerick’s Methodist and Palatine communities.
Craig Copley Brown, a research student in Modern Irish History at TCD, looks at life in Saint Mary’s Cathedral and the Limerick Young Men’s Protestant Association in 1912–1923.
Dr Hélène Bradley-Davies, a lecturer in historical and cultural geography in Mary Immaculate College, Limerick, and Paul O’Brien use the recently discovered papers of the Alice Craven Trust to shine a spotlight on the Protestant poor, specifically widows.
Professor Terence Dooley, Professor of History at Maynooth University and Director of the Centre for the Study of Historic Irish Houses and Estates, and Dr Conor Morrissey, Senior Lecturer in Irish and British History at King’s College London, chart the decline of Limerick’s Protestant landed gentry in the longer revolutionary period.
Finally, Dr Deirdre Nuttall, an ethnologist, researcher and writer, looks at Limerick Protestants in early independent Ireland.
In their introduction, Seán Gannon and Brian Hughes write:
“The First World War and its memorials are central to Patrick Comerford’s essay, which takes as its focus Limerick’s ordinary churches and their congregations in 1912−23. It is, Comerford argues, impossible to overstate the war’s impact on Protestant Limerick. It ‘blighted the lives of almost every Protestant family in [1914–18] and in the decades that followed’, as the memorials erected still attest. Attacks on Protestant persons and property during the subsequent War of Independence and Civil War, inevitably perceived as sectarian, exacted a further emotional toll. Yet Comerford writes too of communal resilience, outlining how religious life for all Protestant denominations proceeded with a remarkable degree of routine throughout revolution and war. Again, we can see how churches across the city and county remained open for worship, diocesan organisations continued to meet, and social life was largely maintained. This determination to press on culminated in rapid acceptance of the new dispensation, through declarations of loyalty to the Irish Free State.”
The book also includes three of my photographs: the World War I war memorials in Saint Mary’s Cathedral, Limerick, and Holy Trinity Church, Rathkeale, and the memorial to Limerick members of the Howth and Kilcoole gun running team at Mount Trenchard churchyard, Foynes, where Mary Spring Rice and Conor O’Brien are buried.
A limited number of print copies of this new book are available through Limerick City and County Library Service’s Local Studies Department, and an e-book version of this volume may be downloaded from the Limerick Museum HERE.
Patrick Comerford
Limerick City and County Council’s Decade of Centenaries programme for 2023 continues with the publication of a new collection of essays edited by Dr Seán William Gannon, of Limerick City and County Library Service, and Dr Brian Hughes, of the Department of History at Mary Immaculate College, Limerick.
It is a privilege to be one of the contributors to Histories of Protestant Limerick, 1912–1923, which has been published in recent weeks. This is a collection of 10 original essays exploring the experience of Limerick’s Protestant communities during the revolutionary period, when they formed less than 5 percent of the population.
The essays in Histories of Protestant Limerick essays draw on a wide range of traditional and largely untapped local archival sources, including the archives of Saint Mary’s Cathedral, the Limerick Young Men’s Protestant Association, and the newly discovered papers of Robert Donough O’Brien, which are held in Mary Immaculate College, Limerick.
These chapters look at aspects of political, religious, economic, and social life in the city and county in 1912-1923, and they chart the courses taken by Limerick’s Protestant communities to meet the challenges that they faced during this time.
In my chapter (Chapter 6: ‘Church-goers in Limerick During War and Revolution’, pp 83-89), I take as my focus Limerick’s ordinary churches and their congregations and their experience of revolution and war.
Dr Ian d’Alton, a Visiting Research Fellow at the Centre for Contemporary Irish History, Trinity College, Dublin examines the unionist/loyalist politics central to Limerick Protestant life.
Dr John O’Callaghan, of the Atlantic Technological University, Sligo, discusses the anti-Protestant sectarianism to which these politics, amongst other factors, could give rise.
The Revd Robin Roddie, the archivist of the Methodist Historical Society of Ireland, documents the revolutionary experience of Limerick’s Methodist and Palatine communities.
Craig Copley Brown, a research student in Modern Irish History at TCD, looks at life in Saint Mary’s Cathedral and the Limerick Young Men’s Protestant Association in 1912–1923.
Dr Hélène Bradley-Davies, a lecturer in historical and cultural geography in Mary Immaculate College, Limerick, and Paul O’Brien use the recently discovered papers of the Alice Craven Trust to shine a spotlight on the Protestant poor, specifically widows.
Professor Terence Dooley, Professor of History at Maynooth University and Director of the Centre for the Study of Historic Irish Houses and Estates, and Dr Conor Morrissey, Senior Lecturer in Irish and British History at King’s College London, chart the decline of Limerick’s Protestant landed gentry in the longer revolutionary period.
Finally, Dr Deirdre Nuttall, an ethnologist, researcher and writer, looks at Limerick Protestants in early independent Ireland.
In their introduction, Seán Gannon and Brian Hughes write:
“The First World War and its memorials are central to Patrick Comerford’s essay, which takes as its focus Limerick’s ordinary churches and their congregations in 1912−23. It is, Comerford argues, impossible to overstate the war’s impact on Protestant Limerick. It ‘blighted the lives of almost every Protestant family in [1914–18] and in the decades that followed’, as the memorials erected still attest. Attacks on Protestant persons and property during the subsequent War of Independence and Civil War, inevitably perceived as sectarian, exacted a further emotional toll. Yet Comerford writes too of communal resilience, outlining how religious life for all Protestant denominations proceeded with a remarkable degree of routine throughout revolution and war. Again, we can see how churches across the city and county remained open for worship, diocesan organisations continued to meet, and social life was largely maintained. This determination to press on culminated in rapid acceptance of the new dispensation, through declarations of loyalty to the Irish Free State.”
The book also includes three of my photographs: the World War I war memorials in Saint Mary’s Cathedral, Limerick, and Holy Trinity Church, Rathkeale, and the memorial to Limerick members of the Howth and Kilcoole gun running team at Mount Trenchard churchyard, Foynes, where Mary Spring Rice and Conor O’Brien are buried.
A limited number of print copies of this new book are available through Limerick City and County Library Service’s Local Studies Department, and an e-book version of this volume may be downloaded from the Limerick Museum HERE.
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