Cohen Line Quotes

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Everything will line up perfectly when knowing and living the truth becomes more important then proving anything to anyone
Alan Cohen
I am blinded by the glare of all silver linings.
Elizabeth Cohen
There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.
Tom Robbins
I was a good kid, but I've had one Achilles' heel that's stayed with me through the years: talking. I simply could not shut the fuck up-I still can't and that small issue has gotten me in all sorts of trouble.
Andy Cohen (Most Talkative: Stories from the Front Lines of Pop Culture)
He never described himself as a poet or his work as poetry. The fact that the lines do not come to the edge of the page is no guarantee. Poetry is a verdict, not an occupation. He hated to argue about the techniques of verse. The poem is a dirty, bloody, burning thing that has to be grabbed first with bare hands. Once the fire celebrated Light, the dirt Humility, the blood Sacrifice. Now the poets are professional fire-eaters, freelancing at any carnival. The fire goes down easily and honours no one in particular.
Leonard Cohen (The Favorite Game)
I’d crossed that line like Usain freakin’ Bolt.
N.R. Walker (Spencer Cohen, Book One (Spencer Cohen, #1))
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. 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. 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. 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 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. 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 honour you by taking this for granted. if you rub their faces in it that is an insult to their hospitality. do not work the audience for gasps ans 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.
Leonard Cohen (Death of a Lady's Man)
TRAVEL Loving you, flesh to flesh, I often thought Of travelling penniless to some mud throne Where a master might instruct me how to plot My life away from pain, to love alone In the bruiseless embrace of stone and lake. Lost in the fields of your hair I was never lost Enough to lose a way I had to take; Breathless beside your body I could not exhaust The will that forbid me contract, vow, Or promise, and often while you slept I looked in awe beyond your beauty.                                                                   Now I know why many men have stopped and wept Halfway between the loves they leave and seek, And wondered if travel leads them anywhere — Horizons keep the soft line of your cheek, The windy sky’s a locket for your hair.
Leonard Cohen (Stranger Music: Selected Poems and Songs)
Without question, the balance of power on the planet today lies in the hands of business. Corporations rival governments in wealth, influence, and power. Indeed, business all too often pulls the strings of government. Competing institutions-religion, the press, even the military-play subordinate roles in much of the world today. If a values-driven approach to business can begin to redirect this vast power toward more constructive ends than the simple accumulation of wealth, the human race and Planet Earth will have a fighting chance.
Ben Cohen (Values-Driven Business: How to Change the World, Make Money, and Have Fun)
Ed Lim’s daughter, Monique, was a junior now, but as she’d grown up, he and his wife had noted with dismay that there were no dolls that looked like her. At ten, Monique had begun poring over a mail-order doll catalog as if it were a book–expensive dolls, with n ames and stories and historical outfits, absurdly detailed and even more absurdly expensive. ‘Jenny Cohen has this one,’ she’d told them, her finger tracing the outline of a blond doll that did indeed resemble Jenny Cohen: sweet faced with heavy bangs, slightly stocky. 'And they just made a new one with red hair. Her mom’s getting it for her sister Sarah for Hannukkah.’ Sarah Cohen had flaming red hair, the color of a penny in the summer sun. But there was no doll with black hair, let alone a face that looked anything like Monique’s. Ed Lim had gone to four different toy stores searching for a Chinese doll; he would have bought it for his daughter, whatever the price, but no such thing existed. He’d gone so far as to write to Mattel, asking them if there was a Chinese Barbie doll, and they’d replied that yes, they offered 'Oriental Barbie’ and sent him a pamphlet. He had looked at that pamphlet for a long time, at the Barbie’s strange mishmash of a costume, all red and gold satin and like nothing he’d ever seen on a Chinese or Japanese or Korean woman, at her waist-length black hair and slanted eyes. I am from Hong Kong, the pamphlet ran. It is in the Orient, or Far East. Throughout the Orient, people shop at outdoor marketplaces where goods such as fish, vegetables, silk, and spices are openly displayed. The year before, he and his wife and Monique had gone on a trip to Hong Kong, which struck him, mostly, as a pincushion of gleaming skyscrapers. In a giant, glassed-in shopping mall, he’d bought a dove-gray cashmere sweater that he wore under his suit jacket on chilly days. Come visit the Orient. I know you will find it exotic and interesting. In the end he’d thrown the pamphlet away. He’d heard, from friends with younger children, that the expensive doll line now had one Asian doll for sale – and a few black ones, too – but he’d never seen it. Monique was seventeen now, and had long outgrown dolls.
Celeste Ng (Little Fires Everywhere)
He was beautiful when he sat alone, he was like me, he had wide lapels, he was holding the mug in the hardest possible way so that his fingers were all twisted but still long and beautiful, he didn’t like to sit alone all the time, but this time, I swear, he didn’t care on way or the other. I’ll tell you why I like to sit alone, because I’m a sadist, that’s why we like to sit alone, because we’re the sadists who like to sit alone. He sat alone because he was beautifully dressed for the occasion and because he was not a civilian. We are the sadists you don’t have to worry about, you think, and we have no opinion on the matter of whether you have to worry about us, and we don’t even like to think about the matter because it baffles us. Maybe he doesn’t mean a thing to me any more but I think he was like me. You didn’t expect to fall in love, I said to myself and at the same time I answered gently, Do you think so? I heard you humming beautifully, your hum said that I can’t ignore you, that I’d finally come around for a number of delicious reasons that only you knew about, and here I am, Miss Blood. And you won’t come back, you won’t come back to where you left me, and that’s why you keep my number, so you don’t dial it by mistake when you’re fooling with the dial not even dialing numbers. You begin to bore us with your pain and we have decided to change your pain. You said you were happiest when you danced, you said you were happiest when you danced with me, now which do you mean? And so we changed his pain, we threw the idea of a body at him and we told him a joke, and then he thought a great deal about laughing and about the code. And he thought that she thought that he thought that she thought the worst thing a woman could do was to take a man away from his work because that made her what, ugly or beautiful? And now you’ve entered the mathematical section of your soul which you claimed you never had. I suppose that this, plus the broken heart, makes you believe that now you have a perfect right to go out and tame the sadists. He had the last line of each verse of the song but he didn’t have any of the other lines, the last line was always the same, Don’t call yourself a secret unless you mean to keep it. He thought he knew, or he actually did know too much about singing to be a singer; and if there is actually such a condition, is anybody in it, and are sadists born there? It is not a question mark, it is not an exclamation point, it is a full stop by the man who wrote Parasites of Heaven. Even if we stated our case very clearly and all those who held as we do came to our side, all of them, we would still be very few.
Leonard Cohen (Parasites of Heaven)
And it was then that Cohen began to feel the weight of the others in this house on this dot on the map below the Line. He had always been aware that he wasn't the only one who had lost, but the losses for others seemed different to him, more true and exact, now that the losses of others had eyes and faces and arms and legs.
Michael Farris Smith (Rivers (Rivers, #1))
The story is told about three men who were sentenced to death by guillotine. One was a doctor, another a lawyer, and the third an engineer. The day of execution arrived, and the three prisoners were lined up on the gallows. “Do you wish to face the blade, or look away?” the henchman asked the doctor. “I’ll face the blade!” the physician courageously replied. The doctor placed his neck onto the guillotine, and the executioner pulled the rope to release the blade. Then an amazing thing happened – the blade fell to a point just inches above the doctor’s neck, and stopped! The crowd of gathered townspeople was astonished, and tittered with speculation. After a bevy of excited discussions, the executioner told the doctor, “This is obviously a sign from God that you do not deserve to die. Go forth – you are pardoned.” Joyfully the doctor arose and went on his way. The second man to confront death was the lawyer, who also chose to face the blade. The cord was pulled, down fell the blade, and once again it stopped but a few inches from the man’s naked throat! Again the crowd buzzed – two miracles in one day! Just as he did minutes earlier, the executioner informed the prisoner that divine intervention had obviously been issued, and he, too, was free. Happily he departed. The final prisoner was the engineer who, like his predecessors, chose to face the blade. He fitted his neck into the crook of the guillotine and looked up at the apparatus above him. The executioner was about to pull the cord when the engineer pointed to the pulley system and called out, “Wait a minute! – I think I can see the problem!” Within each of us there resides an overworking engineer who is more concerned with analyzing the problem than accepting the solution. Many of us have become so resigned to receiving the short end of the stick in life, that if we were offered the long end, we would doubt its authenticity and refuse it. We must be willing to drop the heavy load of guilt, unworthiness, and self-denial we have carried for so long, perhaps lifetimes. We must openly affirm that we are ready to receive all the good that life has to offer us, without argument or wariness. Then we must accept our good – not just in word, but in action. In so doing we claim our right to live in a new world – one which attests that we are deserving not of punishment, but of release, freedom, and celebration.
Alan Cohen (I Had It All the Time: When Self-Improvement Gives Way to Ecstasy)
Oedipa spent the next several days in and out of libraries and earnest discussions with Emory Bortz and Genghis Cohen. She feared a little for their security in view of what was happening to everyone else she knew. The day after reading Blobb's Peregrinations she, with Bortz, Grace, and the graduate students, attended Randolph Driblette's burial, listened to a younger brother's helpless, stricken eulogy, watched the mother, spectral in afternoon smog, cry, and came back at night to sit on the grave and drink Napa Valley muscatel, which Driblette in his time had put away barrels of. There was no moon, smog covered the stars, all black as a Tristero rider. Oedipa sat on the earth, ass getting cold, wondering whether, as Driblette had suggested that night from the shower, some version of herself hadn't vanished with him. Perhaps her mind would go on flexing psychic muscles that no longer existed; would be betrayed and mocked by a phantom self as the amputee is by a phantom limb. Someday she might replace whatever of her had gone away by some prosthetic device, a dress of a certain color, a phrase in a ' letter, another lover. She tried to reach out, to whatever coded tenacity of protein might improbably have held on six feet below, still resisting decay-any stubborn quiescence perhaps gathering itself for some last burst, some last scramble up through earth, just-glimmering, holding together with its final strength a transient, winged shape, needing to settle at once in the warm host, or dissipate forever into the dark. If you come to me, prayed Oedipa, bring your memories of the last night. Or if you have to keep down your payload, the last five minutes-that may be enough. But so I'll know if your walk into the sea had anything to do with Tristero. If they got rid of you for the reason they got rid of Hilarius and Mucho and Metzger-maybe because they thought I no longer needed you. They were wrong. I needed you. Only bring me that memory, and you can live with me for whatever time I've got. She remembered his head, floating in the shower, saying, you could fall in love with me. But could she have saved him? She looked over at the girl who'd given her the news of his death. Had they been in love? Did she know why Driblette had put in those two extra lines that night? Had he even known why? No one could begin to trace it. A hundred hangups, permuted, combined-sex, money, illness, despair with the history of his time and place, who knew. Changing the script had no clearer motive than his suicide. There was the same whimsy to both. Perhaps-she felt briefly penetrated, as if the bright winged thing had actually made it to the sanctuary of her heart-perhaps, springing from the same slick labyrinth, adding those two lines had even, in a way never to be explained, served him as a rehearsal for his night's walk away into that vast sink of the primal blood the Pacific. She waited for the winged brightness to announce its safe arrival. But there was silence. Driblette, she called. The signal echoing down twisted miles of brain circuitry. Driblette! But as with Maxwell's Demon, so now. Either she could not communicate, or he did not exist.
Thomas Pynchon (The Crying of Lot 49)
The war was lost The treaty signed I was not caught I crossed the line I was not caught Though many tried I live among you Well-disguised I had to leave My life behind I dug some graves You'll never find The story's told With facts and lies I had a name But never mind Never mind Never mind The war was lost The treaty signed There's Truth that lives And Truth that dies I don't know which So never mind (...السلام و السلام) Your victory Was so complete Some among you Thought to keep A record of Our little lives The clothes we wore Our spoons our knives The games of luck Our soldiers played The stones we cut The songs we made Our law of peace Which understands A husband leads A wife commands And all of these Expressions of the Sweet indifference Some called love The high indifference Some call fate But we had names More intimate Names so deep And names so true They're blood to me They're dust to you There is no need And this survives There's Truth that lives And Truth that dies Never mind Never mind I leave the life I left behind There's Truth that lives And Truth that dies I don't know which So never mind (...السلام و السلام) I could not kill The way you kill I could not hate I tried, I failed You turned me in At least you tried You side with them whom You despise This was your heart This swarm of flies This was once your mouth This bowl of lies You serve them well I'm not surprised You're of their kin You're of their kind Never mind Never mind I had to leave my Life behind The story's told With facts and lies You own the world So never mind Never mind Never mind I live the life I left behind I live it full I live it wide Through layers of time You can't divide My woman's here My children too Their graves are safe From ghosts like you In places deep With roots entwined I live the life I left behind The war was lost The treaty signed I was not caught Across the line I was not caught Though many tried I live among you Well-disguised
Leonard Cohen
In truth, Sam Zemurray was more interesting and unique—as a salesman of a perishable product, he was a kind of existentialist, skirting the line between wealth and oblivion, health and rot, a rider of railroads, a chaser of time, crossing the country in a boxcar filled with reeking produce. It was life: move the fruit now or you’re ruined forever. He became a gambler by necessity—a risk taker, a salesman, a brawler. “The little fellow,” as the big wheels in Boston called him, but the little fellow would build a kingdom from ripes.
Rich Cohen (The Fish that Ate the Whale: The Life and Times of America's Banana King)
The greatness of Zemurray lies in the fact that he never lost faith in his ability to salvage a situation. Bad things happened to him as bad things happen to everyone, but unlike so many he was never tempted by failure. He never felt powerless or trapped. He was, as I said, an optimist. He stood in constant defiance. When the secretary of state teamed up with J. P. Morgan and the Honduran government in a way contrary to Zemurray’s interests, he simply changed the Honduran government. When United Fruit drew a line at the Utila River and said, “You shall not cross,” he crossed anyway. When he was forbidden to build a bridge, he built a bridge but called it something else.
Rich Cohen (The Fish that Ate the Whale: The Life and Times of America's Banana King)
The day may come, when the rest of the animal creation may acquire those rights which never could have been withholden from them but by the hand of tyranny. The French have already discovered that the blackness of the skin is no reason why a human being should be abandoned without redress to the caprice of a tormentor. It may come one day to be recognised, that the number of the legs, the villosity of the skin, or the termination of the os sacrum, are reasons equally insufficient for abandoning a sensitive being to the same fate. What else is there that should trace the insuperable line? Is it the faculty of reason, or, perhaps the faculty of discourse? But a full-grown horse or dog is beyond comparison a more rational, as well as a more conversible animal than an infant of a day, or a week, or even a month old? But suppose the case were otherwise, what would it avail? The question is not, Can they reason?, nor Can they talk? but Can they suffer?
Martin Cohen (Philosophy For Dummies, UK Edition)
Only a woman who’d done what she’d done could appreciate the danger I was in. So enjoy this food, her brown eyes seemed to say, enjoy this music, enjoy this cigarette. I might never see you again. It’s a quintessentially Israeli attitude: Let’s seize the moment now; let’s live right now.
Aaron Cohen (Brotherhood of Warriors: Behind Enemy Lines with a Commando in One of the World's Most Elite Counterterrorism Units)
In the song “Hallelujah,” Leonard Cohen writes, “Love is not a victory march, it’s a cold and it’s a broken hallelujah.” Love is a form of vulnerability and if you replace the word love with vulnerability in that line, it’s just as true.
Brené Brown (Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead)
Imogen recalled a line from a Leonard Cohen song and something within her cracked a little, willing to let the light in.
Zoje Stage (Getaway)
Mrs. Littnauer must have brought thirty dresses back to the fitting room for me to try on. But most of them weren't right on me. I was sixteen years old and a size sixteen, not, after all, a very promising combination. There was one rose velvet thing with a white lace collar and cuffs, cut in a princess line, which didn't look bad, but there was nothing at all sophisticated about it ... 'Put me in a pair of Mary Janes and I'll look like a five-year-old from Brobdingnag,' I said.
Barbara Cohen (The Innkeeper's Daughter)
And I'd certainly never explored being tall before. It had always just been a fact. I am tall. I buy tall clothing. I date tall men. I can reach high things. The end. But when towering over the grocery store checkout line or out with my friends, I still felt like I didn't quite fit into the group.
Arianne Cohen (The Tall Book: A Celebration of Life from on High)
the canary, with my parents “This afternoon. I just saw on the
Andy Cohen (Most Talkative: Stories from the Front Lines of Pop Culture)
No matter what the political environment, blasphemy laws lend the power of the state to particular religious authorities and effectively reinforce extreme views, since the most conservative or hard-line elements in a religious community are generally the quickest to take offence and the first to claim the mantle of orthodoxy. Virtually any act has the potential to draw an accusation and prosecution
Nick Cohen (You Can't Read This Book: Censorship in an Age of Freedom)
Legitimate criticism of terrorist murder and the oppression of women was turned into something it was not, in this instance a prejudiced hatred of all Muslims. The threat of violent punishment hung in the air. Critics learned that the safe course was to say nothing, because they did not know where fanatics would draw their lines.
Nick Cohen (You Can't Read This Book: Censorship in an Age of Freedom)
For a generation, Tories have repeated Baroness Thatcher's acid line: "The trouble with socialism is that eventually you run out of other people's money." After the bailout of the banks, that seems to be the trouble with financial capitalism as well.
Nick Cohen (Living With Lies: Nick Cohen in Standpoint)
I had a good raincoat then, a Burberry I got in London in 1959. Elizabeth thought I looked like a spider in it. That was probably why she wouldn't go to Greece with me. It hung more heroically when I took out the lining, and achieved glory when the frayed sleeves were repaired with a little leather. Things were clear. I knew how to dress in those days. It was stolen from Marianne's loft in New York sometime during the early seventies. I wasn't wearing it very much toward the end.
Leonard Cohen
A line of sickly-looking farmers stripped down to their underwear
Bryan Cohen (The Devil Within (Viral Superhero, #5))
Almost every word in the paper followed the conservative line, and you wouldn’t have been surprised to read in the horoscope that ‘A full moon in July will mean that Geminis will be mugged by the feral children of a heroin-addled single mother.
Nick Cohen (What's Left?: How Liberals Lost Their Way: How the Left Lost its Way)
But it doesn’t happen that way usually,” puzzled the comely ecstatica. “They like to haunt stationary places, houses, churchyards—but moving trains? notional rail lines? hardly ever. If at all.” “Something’s afoot,” groaned the Cohen, with an inflection almost of gastric distress. “And did somebody just blow up a train line?” Lew feeling somewhat out of his depth here, “or . . .” “Tried to,” she said, “thought about it, dreamed it, or saw something—analogous to an explosion. Death is a region of metaphor, it often seems.” “Not always decipherable,” added the Cohen, “but in this case Eastern-Questionable, beyond a doubt. More Renfrew and Werfner melodrama. Queer Street for the Tiresome Twins, I’d say. Not immediately clear which will murder the other, but the crime itself is as certain as the full moon.
Thomas Pynchon (Against the Day)
Thus, as the Communication is a long sequence of Fortified remounting stations, so is the Line a long sequence of Taverns and Ordinaries, and absences of the same. One day, the Meridian having been closely enough establish’d, and with an hour or two of free time available to them, one heads north, one south, and ’tis Dixon’s luck to discover The Rabbi of Prague, headquarters of a Kabbalistick Faith, in Correspondence with the Elect Cohens of Paris, whose private Salute they now greet Dixon with, the Fingers spread two and two, and the Thumb held away from them likewise, said to represent the Hebrew letter Shin and to signify, “Live long and prosper.” The area just beyond the next Ridge is believ’d to harbor a giant Golem, or Jewish Automaton, taller than the most ancient of the Trees. As explain’d to Dixon, ’twas created by an Indian tribe widely suppos’d to be one of the famous Lost Tribes of Israel, who had somehow given up control of the Creature, sending it headlong into the Forest, where it would learn of its own gift of Mobile Invisibility.
Thomas Pynchon (Mason & Dixon)
If Mr. Bentavagnia has a large nose, you’d see a bent weather vane where the nose should be. Mr. Pukczyva has bulging eyes; really see those shivering hockey pucks flying out of his eyes, hitting you in the face. Or, his eyes are shivering hockey pucks. Mr. Antesiewicz has a noticeable cleft in his chin. See savages charging at you out of that cleft; you’re defending yourself against them—you’re anti-savage. Mr. Cohen has deep character lines (they used to be called “worry” lines) on his forehead. Picture those lines being dripping ice cream cones; or millions of dripping ice cream cones flying out of those lines.
Harry Lorayne (The Memory Book: The Classic Guide to Improving Your Memory at Work, at School, and at Play)
Claude Steele, this time joined by Geoffrey Cohen, offers important insights. To investigate how a teacher might gain the trust of a student when giving feedback across racial lines, they created a scenario in which Black and White Stanford University students were asked to write essays about a favorite teacher. The students were told that the essays would be considered for publication in a journal about teaching and that they would receive feedback from a reviewer who they were led to believe was White. A Polaroid snapshot was taken of each student and attached to the essay as it was turned in, signaling to the students that the reviewer would be able to identify the race of the essay writer. Several days later the students returned to receive the reviewer’s comments, with the opportunity to “revise and resubmit” the essay. What was varied in the experiment was how the feedback was delivered. When the feedback was given in a constructive but critical manner, Black students were more suspicious than white students that the feedback was racially biased, and consequently, the Black students were less likely than the White students to rewrite the essay for further consideration. The same was true when the critical feedback was buffered by an opening statement praising the essay, such as “There were many good things about your essay.” However, when the feedback was introduced by a statement that conveyed a high standard (reminding the writer that the essay had to be of publishable quality) and high expectations (assuring the student of the reviewer’s belief that with effort and attention to the feedback, the standard could be met), the Black students not only responded positively by revising the essays and resubmitting them, but they did so at a higher rate than the White students in the study.66
Beverly Daniel Tatum (Why Are All The Black Kids Sitting Together in the Cafeteria?)
Perhaps no line of Cohen’s better captures the essence of his vision. He is telling his listeners what prophetically inclined rabbis have been telling theirs for thousands of years, namely that the world is a place of suffering, that no celestial cataclysm could ever change that, but that there are things here on this earth - art, love, friendship, kindness, music, sex - that have the power to redeem us.
Liel Leibovitz (A Broken Hallelujah: Rock and Roll, Redemption, and the Life of Leonard Cohen)
IN OLD MOSCOW’ (Tune: Clementine) In old Moscow, in the Kremlin,    In the fall of ’39, Sat a Russian and a Prussian Writing out the party line. Chorus: Oh, my darling, oh, my darling,    Oh, my darling party line;    Oh, I never will desert you,    For I love this life of mine.    Leon Trotsky was a Nazi;    Oh we knew it for a fact. Pravda said it; we all read it, Before the Stalin – Hitler Pact. Now the Nazis and the Fuehrer    Stand within the party line, All the Russians love the Prussians,    Volga boatmen sail the Rhine. Walter Gourlay, 1941
Nick Cohen (What's Left?: How Liberals Lost Their Way: How the Left Lost its Way)
is July 2009. We step off our respective planes and lug our gear into the sweltering Vegas sun. Our taxis creep through downtown tourist traffic, swing around the airport, and unceremoniously drop us off in a giant, industrial-looking parking lot. The Las Vegas Sports Center sulks unimpressively in the heat, but under the sounds of arriving planes, there’s also a low hum and periodic whistles. Inside, the air is cooler and smells vaguely of . . . what is that smell? Sweat? Feet? Happiness? And when our eyes adjust to the light, we see skaters from every corner of the world—their helmets whiz by in every direction looking as if they are floating on air. On their feet are skates—black skates, white skates, blue skates, camouflage skates—propelled by a rainbow of wheels. On the sport floor, coaches with names like Carmen Getsome and Miss Fortune are drilling a centipede line of skaters in the fine art of knocking each other’s asses to the ground. Refs and skaters gear up for the mixed league, multination, battle du jour: Team Australia vs. Team Canada. Someone hobbles by with an ice pack strapped to her knee, still smiling. We smile too. Across town, nearly one thousand other skaters throng the casino and head to seminars in the meeting halls of the Imperial Palace Hotel, with nothing but roller derby on their minds. This is the fifth annual derby convention known as RollerCon.
Alex Cohen (Down and Derby: The Insider's Guide to Roller Derby)
Now, if the theist could prove that out of a number of equally possible lines of development living beings show one fixed form, and that against the compulsion of environmental forces, he would do something to prove the probability of some sort of guidance.
Chapman Cohen (Theism or Atheism The Great Alternative)
That paragraph. It’s not the work of an author, but maybe five lines. It’s those five lines that will get me reluctantly to explore the rest of the guy’s work. But that paragraph I’ve never forgotten. There’s that paragraph ‘Snow was general all over Ireland.’ It described the snow. It’s Montreal. It’s our snow, our black iron gates in Montreal. It was perfect.
Leonard Cohen
Get Inspired: Most of us are trying to live an authentic life. Deep down, we want to take off our game face and be real and imperfect. There is a line from Leonard Cohen’s song “Anthem” that serves as a reminder to me when I get into that place where I’m trying to control everything and make it perfect.6 The line is, “There is a crack in everything. That’s how the light gets in.” So many of us run around spackling all of the cracks, trying to make everything look just right. This line helps me remember the beauty of the cracks (and the messy house and the imperfect manuscript and the too-tight jeans). It reminds me that our imperfections are not inadequacies; they are reminders that we’re all in this together. Imperfectly, but together.
Brené Brown (The Gifts of Imperfection: Let Go of Who You Think You're Supposed to Be and Embrace Who You Are)
The bookshelves were lined with Joan Didion and Flannery O'Connor, a small, unexpected collection of musicalia, essay collections on Leonard Cohen and Neil Young. There was a framed poster of an exhibit of romantic landscape paintings in Dresden. Intellectuals had their own thing going, that was for sure.
Gary Shteyngart (Lake Success)
The truth of the line overwhelms all other considerations" 1/24/03
Leonard Cohen (Book of Longing)
Magnesium is the natural element your body uses to prevent excess calcium from entering these cells and to maintain normal blood pressure. Magnesium is indeed our natural calcium blocker. Dr. Sherry Rogers, a leading proponent of integrative medicine, has written extensively about magnesium’s benefits for disorders caused by abnormal muscle constriction. “In order for a muscle to contract, it needs calcium. In order to relax it needs magnesium.”11 Hypertension is one of the conditions for which Dr. Rogers uses magnesium. Magnesium is also necessary for the health of the endothelium, the tiny cells that form the thin inner lining of the blood vessels. Endothelial cells play an active role in prompting the smooth muscle cells to constrict or relax by producing substances such as prostacycline, thromboxane, and endothelin. Magnesium increases the endothelium’s production of prostacycline, which induces artery relaxation, and it inhibits the production of thromboxane and endothelin, which promotes artery constriction.12 Magnesium also directly influences the ability of cells to use potassium, which also induces artery relaxation. Dr. Mildred Seelig, one of the first pioneers of magnesium research, states, “Low potassium, by itself, can bring on high blood pressure. But even adequate potassium intake cannot normalize high blood pressure if magnesium is too low. Without enough magnesium (and potassium) in our bodies, we cannot expect normal blood pressure.”13 THE PROBLEM WITH THE STANDARD MEDICAL TREATMENT OF HYPERTENSION With the exception of the common cold, hypertension accounts for more visits to doctors in the United States than any other condition. Most often, the treatment recommended is some type of prescription drug. Sometimes these drugs are necessary, and there is no doubt their ability to lower blood pressure can prevent many of the severe complications of hypertension.
Jay S. Cohen (The Magnesium Solution for High Blood Pressure: How to Use Magnesium to Help Prevent & Relieve Hypertension Naturally (The Square One Health Guides))
We do know that blood pressure is controlled by the tiny smooth muscles lining the interior of blood vessels and the nerves that control them. These muscles’ ability to dilate or constrict governs the pressure and blood flow to each organ and tissue, thus allowing the body to adapt to various states such as sleep, digestion, or exercise, as well as to external circumstances such as a hot or cold environment. When the muscles throughout the vascular system dilate, blood pressure drops. When the muscles constrict, blood pressure rises. If this constriction occurs continuously, the blood pressure remains abnormally high. This is hypertension. What influences the relaxing and tightening of the tiny smooth muscles lining the blood vessels? Many factors, but among the foremost is the mineral magnesium. Actually, the balance of magnesium and another mineral, calcium, in and around the muscle cells lining the arteries is a primary determinant of their state of relaxation and constriction. Calcium tends to make muscles constrict, whereas magnesium causes them to relax.
Jay S. Cohen (The Magnesium Solution for High Blood Pressure: How to Use Magnesium to Help Prevent & Relieve Hypertension Naturally (The Square One Health Guides))
Certainly this arson has been managed clumsily and stupidly,” he said. “But everything they have done has been clumsy and stupid; nevertheless, so far, they haven’t made a single miscalculation. They have gambled on the stupidity of the masses with alarming accuracy. The Leader himself frankly stated that such gambles were the fundamental principle of his political actions: why shouldn’t they continue along these lines? With dreadful single-mindedness of purpose they continued the lies that General Headquarters had to drop at the end of the war. And the peasants and small tradespeople believed every lie they uttered. Why shouldn’t they have been taken in by those lies? The principle of those fellows was really appallingly simple: let your yes mean no and let your no mean yes.
Cohen (The Oppermanns)
The term "Abrahamic religions" is itself embedded in politics. The phrase gained currency during and after the 1990s, as conflicts around the world subjected the relationships between them to intense scrutiny. One line of analysis has posited that Judaism and Christianity belong to one civilization, and Islam belongs to another, and that antagonism between the two sides is endemic, perhaps inevitable. This characterization may seem natural given global political alignments in the early twenty-first century, yet, when viewed historically, the idea that Judaism and Christianity belong to a single cultural complex looks rather odd.
Charles L Cohen (The Abrahamic Religions: A Very Short Introduction (Very Short Introductions))
Love is not always a straight, shining line. Sometimes, love is a shady path, full of unpredictable turns.
Lynda Cohen Loigman (The Matchmaker's Gift)