The morning the results of the 2016 United States election were confirmed, I cried. I am not an American but, like all of us, I am affected by its foreign and domestic policies. And I do ache with empathy for people whose vilification by trumpism has now been wrongly—evilly—legitimated. I reject that legitimization. It is sickening and terrifying.

Later the same week, when Canadian poet Leonard Cohen’s death was confirmed, I cried again. I didn’t know him personally but, like many of us, I am affected by his work. I posted an American magazine’s eulogy of Cohen on my Facebook feed along with half of a stanza of a poem, a song, I’ve known from memory since I was sixteen when my dad would play it in the car on our way home from late night shifts at the doomed sandwich shop we owned at the time.

The rain falls down on last year’s man,

an hour has gone by and he has not moved his hand.

But everything will happen if he only gives the word.

The lovers will rise up and the mountains touch the ground…

Cohen’s “Last Year’s Man” is one of his prophetic works. I’ve always felt it was, even when I was a young girl. I’d listen to verses like

I met a lady, she was playing

With her soldiers in the dark.

One by one she had to tell them

that her name was Joan of Arc…

and I’d feel like they were important. I didn’t foresee an election where no amount of reasons to prefer a flawed but qualified woman over a car wreck of a man could convince people to follow her. Cohen wouldn’t have foreseen it either, but he could still write poetry about it way back in 1971.

In the same song he could write about a declining world power, the end of its moral authority, with poignancy and pathos, with just

And the corners of the blueprint are ruined since they rolled

far past the stems of thumbtacks

that still throw shadows on the wood.

I took Cohen’s death hard not because as a white person from outside the country I was exercising my luxury of being able to flip the channel on my grief machine as the mood hits me. I do have that unfair luxury but it wasn’t operating for me in this instance—not in the way it may seem. I publicly mourn Leonard Cohen because enfolded within my feelings for his death are my feelings about the 2016 US election. Cohen’s work—especially the stanza I posted in public—speaks to my grief and frustration as someone caught powerless in this moment of history.

Cohen was a spiritual person. He called out hypocrisy in people who claimed to be the same—who mouthed piety while indulging in hate, prejudice, greed, and violence. He pointed out the true character of religion is not about cupcakes and work ethics but about loving the world in spite of suffering and sacrifice—about reading “from pleasant Bibles that are bound in blood and skin.” Paradoxes are inevitable and vital. Hypocrisy is not. Consider this verse from “Suzanne.”

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.”

This is the theme I saw in the verse I posted from “Last Year’s Man.” No one compares to god. Even when he appears to be still, or impotent, just watching–none of us compares. And this world is to be transcended and overcome. We were made to rise out of it, to be free of it even though to do so is a miracle. We have two faculties for transcendence: suffering and love. Combined together, these faculties become hope. In revisiting Cohen’s work the week he died, I have connected with my grief for American society, and also with the beginnings of my hope for it–for all of us.

And so, we sail on.