Now we are getting to the cream of Cohen’s crop. Marianne and Leonard stayed in touch until the very end, almost literally. He sent her a letter on her death bed in 2016. “I’m just a little behind you, close enough to take your hand. […] I’ve never forgotten your love and your beauty. But you know that. […] Safe travels old friend. See you down the road. Love and gratitude.” He died just over three months later, on November 7.
Even though they weren’t together over the decades, they always seemed together in spirit, an unassailable team. I mean this song is so monumental even if you dismiss the aforementioned; this is more 60’s than Breakfast at Tiffanys and Puff the Magic Dragon. This song is it. This is the Zeitgeist 60’s song in all of its majestic and enigmatic form at least to my senses, and don’t mention how stupendously well it is written.
The song was inspired by Marianne Jensen, born Marianne Ihlen, whom Cohen met on the Greek island of Hydra in 1960. She had recently been left by her husband. The two hit it off, and Cohen ultimately took her from Hydra back to her home in Oslo, Norway. He later invited her and her son to live with him in Montreal, an offer which she accepted. The two lived together throughout the 1960s, traveling between New York, Montreal, and Hydra. Here is an excerpt from a recent documentary about the two when Leonard’s career eventually took off.
Marianne Ihlen herself said that the original words were not “So long, Marianne“, but “Come on, Marianne“, indicating that in an early version of the song, it was not meant as a goodbye. Cohen dedicated his third volume of poetry, Flowers for Hitler, to her and she directly inspired many of his other songs and poems.
[Verse 1]
Come over to the window, my little darling
I’d like to try to read your palm
I used to think I was some kind of Gypsy boy
Before I let you take me home
[Chorus]
Now so long, Marianne, it’s time that we began
To laugh and cry and cry and laugh about it all again
[Verse 2]
Well you know that I love to live with you
But you make me forget so very much
I forget to pray for the angels
And then the angels forget to pray for us
[Verse 3]
We met when we were almost young
Deep in the green lilac park
You held on to me like I was a crucifix
As we went kneeling through the dark
[Verse 4]
Your letters they all say that you’re beside me now
Then why do I feel alone?
I’m standing on a ledge and your fine spider web
Is fastening my ankle to a stone
[Verse 5]
For now I need your hidden love
I’m cold as a new razor blade
You left when I told you I was curious
I never said that I was brave
[Verse 6]
Oh, you are really such a pretty one
I see you’ve gone and changed your name again
And just when I climbed this whole mountainside
To wash my eyelids in the rain
Reference:
1. So Long, Marianne – Leonard Cohen
“The more I live, the more I learn. The more I learn, the more I realize, the less I know.”- Michel Legrand
Observation Blogger 
Man, lately, you seem to be on a Leonard Cohen spree! “So Long, Marianne” and “Suzanne” were the first two songs I ever heard by Cohen. I’ve always liked them.
“So Long, Marianne” and “Suzanne” may well have been two of the first for me as well. They are both in my top 20 by Leonard. I think other than Dylan, Leonard’s music appears more in my project than any other artist. Also it just so happens that some of his songs came in quick succession because of their alphabetical order. But I can’t complain. May be my readers can lol
I can’t think of any other singer whose voice changed over time as much as Cohen’s.
I don’t know about that Jeff. Also, I just can’t think of many singer songwriters with that breadth and longevity of music making to compare it with. May be young vs old Dylan’s voice is just as distinct as Cohen’s? Dunno.