#Catherine Cohen

[aaknopf]

On an early spring night in Manhattan last year, the Texan-born comedian, poet, and actor Catherine Cohen attended a party where the Māori poet Tayi Tibble was in attendance, visiting all the way from New Zealand. After hearing Tayi read a piece from her book Poūkahangatus, Catherine suggested she come share her work at Club Cumming downtown, where Cat was hosting a weekly, eclectic “Cabernet Caberet.” Though they’d only just met, these two poets from opposite sides of the globe had been in dialogue on the page all along.

wtn boys  by Tayi Tibble

soft wellington boys in six hundred  dollar leather want to send me their poetry  & tie me to their beds so I tell them I like their  fathers instead & listen to their aluminium skulls  crack like coke cans and thunder.

road trip poem #17  by Catherine Cohen

I’m jealous of everyone and wouldn’t change a thing  every time we have sex I tell you  it’s one for the record books  and you say something can’t be special  if everything is. boys love drumming on stuff  boys love taking their shirt off with one hand  oh my god experience  whatever pleasure you can in this life  for example I’m at mcdonald’s right now

. .

More on these books and authors: 

Learn more about Poūkahangatus by Tayi Tibble and follow her @paniaofthekeef on Instagram and Twitter.

Learn more about God I Feel Modern Tonight by Catherine Cohen and follow her @catccohen on Instagram.

See Catherine Cohen’s Netflix special, “The Twist...? She’s Gorgeous,” which integrates poetry with comedy, streaming here.

Visit our Tumblr to peruse poems, audio recordings, and broadsides in the Knopf poem-a-day series.

To share the poem-a-day experience with friends, pass along this link.

#cohenaudio #tibbleaudio #poetry #knopf #books #poem-a-day #knopf poetry #national poetry month #poetry month #knopfpoetry #poem #catherine cohen #god i feel modern tonight #tayi tibble #poukahangatus

[jonathanleeb]

Catherine Cohen

“road trip poem #17”

God I Feel Modern Tonight: Poems from a Gal About Town

#poetry #short poetry #poem #short poem #catherine cohen

[brettsgoldstein]

literally...

#w #love isnt weak #i would die for my friends #substack #excerpt #alex dimitrov #catherine cohen

[book-of-leaves-and-love]

Poem I wrote after you went down on me and then called me “dude”

Catherine Cohen

#booklr #new booklr #god i feel modern tonight #Catherine Cohen #book quotes #quotes #my finds #books #poetry

[lourdeszamora]

lourdés zamora & catherine cohen at cabaret cabernet, by evan murphy (2022) in new york city

#lourdés zamora #catherine cohen #evan murphy

[escapistblogtv]

Watched this week on Netflix

Catherine Cohen: The Twist...? She's Gorgeous (2022) A sparkling cocktail of standup and song about looking for love, the absurdity of marathons and burying someone alive.

#stand up comedy #catherine cohen #netflix #what to watch #Escapist Blog TV #tv recommendation #tv recommendations

[whileiamdying]

Review/Film; Deneuve As Symbol Of Colonial Epoch

By Vincent Canby Dec. 24, 1992

Catherine Deneuve reigns in "Indochine." That is, she presides over its second-rate fiction with the manner of an empress who knows her powers are constitutionally limited but who continues to take her duties seriously. She can't change the course of the film, but her lofty presence keeps it from flying apart. She plays Eliane who, when first met in 1930, divides her time between a mansion near Saigon and a successful rubber plantation, which she oversees with (sometimes for) her widowed father.

Miss Deneuve has her work cut out for her, since the new French film, made on location at great expense and with attention to historical accuracy, intends to be nothing less than epic. "Indochine" is the story of the last 25 years of French rule in Indochina as reflected by the events in Eliane's life. The subject is potentially rich, but the screenplay, whomped up by three screenwriters in collaboration with Regis Wargnier, the director, has neither the conviction of fact, the sense of revelation found in good fiction, nor the fun of trashy literature.

In 1930 Eliane enjoys all the perks that accrue to the dominant class in a smoothly functioning colonial society. Though French by birth, she has never seen France. She was born and reared in Indochina, which she considers as much her home as it is for the anonymous laborers who work on her plantation. Eliane is not as bigoted as some French. She is bringing up Camille (Linh Dan Pham) as her own daughter. The pretty teen-ager, an Annamese princess, was adopted by Eliane after her parents -- Eliane's best friends -- were killed in an accident.

Since Eliane is France to a large extent, it's not surprising that her life falls apart more or less in concert with French colonial rule, and that her heartbreak and (dare I say?) her hopes parallel those of France itself. She's sorely tried, both as an adoring mother and as the conscience of a great European nation.

Camille has been betrothed since childhood to Tanh (Eric Nguyen), a well-born Vietnamese fellow whom she likes but does not love. She shatters her adoptive mother by falling madly in love with Jean-Baptiste (Vincent Perez), a handsome, mostly uncharacterized French naval officer, who had once been Eliane's lover.

Eliane puts her foot down, but Camille runs off to join Jean-Baptiste at the remote outpost to which Eliane has arranged that he be sent. It's the beginning of the end for both the motherland and Eliane. I'm not giving away one-tenth of what happens in the movie by reporting that the feckless Tanh turns out to be a sort of Vietnamese Scarlet Pimpernel, a dedicated, recklessly brave Vietnamese freedom fighter and Communist.

Camille, too, is politicized, becoming known as "the red princess" for her underground activities. When last heard from in 1954, she's at the table in Geneva, a member of the Indochinese committee negotiating independence from France.

It's not easy for any movie, even one running for 2 hours and 35 minutes, to cover so much time and history and still maintain its coherence as drama. Though Eliane is the film's focal point, she is not Scarlett O'Hara. Eliane has her weaknesses: she falls in love with the wrong man, and she occasionally seeks solace in a pipe of opium. Yet she's not so much a character as a beautiful, somewhat frosty icon, like the statue of Marianne, the official symbol of the French Republic for which Miss Deneuve's likeness was used in 1985.

Without seeming to age a day from 1930 to 1954, Miss Deneuve moves through "Indochine" more as an observer than as a participant. Her Eliane/Marianne is not an embodiment of the ideals of the French Revolution, but a representation of the kind of chic associated with Coco Chanel and Yves Saint Laurent.

She looks ravishing from start to finish. She's supremely unruffled when a man with a nosebleed attempts to make love to her. Not a hair is out of place as she beats a worker for attempting to run away from the plantation. She's not a particular woman but an abstraction as she tells the victim, "Do you think I like beating my children?"

In spite of all that, Miss Deneuve lends the movie a lot of her own instinctive intelligence. Behind the movie-star facade, a real actress is at work. It's not her regal beauty but the force of her personality that carries the viewer through a choppy screenplay not always easy to follow. It may be that the film has been re-edited for its American release, but whatever the reason, characters seem to disappear before their time, or to appear on screen without having been properly introduced. In the etiquette of cinema, this is called rude editing. There also are times when the soundtrack music hails an emotional crescendo that only it recognizes.

Aside from Miss Deneuve's performance, the only one worth noting is that of Jean Yanne, whose acting style has become increasingly self-important and busy since the early 1970's when he appeared in two fine Claude Chabrol films, "This Man Must Die" and "Le Boucher." Here he plays the head of the French security police in Saigon, a jaded functionary who half-heartedly courts Eliane while wearily going about his brutal job.

"Indochine" offers the audience much more history and many more views of the Vietnamese landscape than can be seen in "The Lover," Jean-Jacques Annaud's fine, laconic screen adaptation of the Marguerite Duras novel, also set in Vietnam in the 1930's. Yet "The Lover" evokes subtle truths about colonial relationships that are effectively buried in the epic fanciness of "Indochine."

"Indochine," which has been rated PG-13 (under 13 strongly cautioned), has scenes of violence.

INDOCHINE

Directed by Regis Wargnier; screenplay (in French with English subtitles) by Eric Orsenna, Louis Gardel, Catherine Cohen and Mr. Wargnier; director of photography, Francois Catonne; music by Patrick Doyle; produced by Eric Heumann and Jean Labadie; released by Sony Pictures Classics. At the Lincoln Plaza Cinemas, Broadway and 63d Street. Running time: 155 minutes. This film is rated PG-13. Eliane, Catherine Deneuve Jean-Baptiste, Vincent Perez Camille, Linh Dan Pham Guy, Jean Yanne Yvette, Dominique Blanc WITH: Carlo Brandt, Mai Chau, Alain Fromager, Chu Hung, Jean-Baptiste Huynh, Gerard Lartigau, Hubert Saint-Macary, Henri Marteau, Thibault de Montalembert, Andrzej Seweryn, Eric Nguyen, Nhu Quynh, Tien Tho, Thi Hoe Tranh Huu Trieu, Nguyen Lan Trung and Trinh Van Thinh. Rating: PG-13. Running Time: 2h 39m. Genres: Drama, Romance.

Works Cited:

Canby, V. (1992, 24 12). Review/Film; Deneuve As Symbol Of Colonial Epoch. The New York Times, CXLII (49190), p. C9.

#Regis Wargnier #Eric Orsenna #Louis Gardel #Catherine Cohen #François Catonne #Patrick Doyle #Eric Heumann #Jean Labadie #Sony Pictures Classics #Catherine Deneuve #Jean-Baptiste #Vincent Perez #Linh Dan Pham #Jean Yanne Yvette #Dominique Blanc #Carlo Brandt #Mai Chau #Alain Fromager #Chu Hung #Jean-Baptiste Huynh #Gerard Lartigau #Hubert Saint-Macary #Henri Marteau #Thibault de Montalembert #Andrzej Seweryn #Eric Nguyen #Nhu Quynh #Tien Tho #Thi Hoe Tranh Huu Trieu #Nguyen Lan Trung

[salamanderinspace]

watched Catherine Cohen's "The Twist? ... She's Gorgeous" on Netflix. Really liked it. She's like a straight woman drag queen... Like camp Broadway Barbie? Like Amy Schumer but a cabaret burlesque actress

#catherine cohen #netflix #what im watching #comedy

[sanitariumslumber]

#catherine cohen

[jonathanleeb]

Catherine Cohen

“poem I wrote after I got scolded at the whole foods for stealing a meatball from the salad bar”

God I Feel Modern Tonight: Poems from a Gal About Town

#poetry #short poem #poem #catherine cohen

[book-of-leaves-and-love]

Poem I wrote after you went down on me and then called me “dude”

Catherine Cohen

#god i feel modern tonight #Catherine Cohen #booklr #new booklr #book quotes #quotes #my finds #books #poetry

[jgthirlwell]

playlist 09.30.23

Mick Harvey & Amanda Acevedo Phantasmagoria in Blue (Mute) Saddam Webcam Excès de beurre & Ruine morale (Dur et Doux) Various Outlier Festival 2022: New Electronic Music From Aotearoa (Audio Foundation) Austin Wulliman The News From Utopia (Bright Shiny Things) Thelonius Monk Brilliant Corners (Riverside) Samuel Adams Current (Other Minds) Loraine James Gentle Confrontation (Hyperdub) Pathos Trio When Dark Sounds Collide: New Music for Percussion and Piano (New Focus) Various Country Funk (Light in the Attic) John Luther Adams Darkness and Scattered Light (Cold Blue) Catherine Christer Hennix Solo for Tamburium (Blank Forms) Rachel Fannan Bjork Impersonations (Instagram) Tony Cohen Half Deaf, Completely Mad (book)

#Mick Harvey & Amanda Acevedo #playlist #Saddam Webcam #Austin Wulliman #Thelonius Monk #Samuel Adams #Loraine James #Pathos Trio #John Luther Adams #Catherine Christer Hennix #Rachel Fannan #Tony Cohen #mick harvey

[nataliadyernews]

from YSL’s Instagram story

#natalia dyer #zoe kravitz #charlotte gainsbourg #mark tuan #anja rubik #olivia wilde #rosé #catherine deneuve #dua lipa #rosie huntington whiteley #milena smit #steve lacy #nadia lee cohen #ysl #parisfw2023 #video