Features
- Cover Type: Paperback with 432 pages
- Published by: Vintage November 1, 1994
- Written in: English
- ISBN 10 Number: 0679755411
- ISBN 13 Number: 978-0679755418
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Book Dimensions:
7.3 x 6.3 x 1 inches
- Weighs: 12.3 ounces
From Publishers Weekly
Cohen is probably best known as the writer of the lyrics for the song "Suzanne," made famous by Judy Collins, but has written a great many other songs, too, as well as poetry and prose poetry not set to music. In reading through this generous selection, one often hears the ghost of musical accompaniment, and sometimes its actual presence is missed. The writing alone, forthright in its rhythms, plain of speech, often rhymed, and almost immediately accessible, seems well suited to the ears of a live audience. So fans of the songs will be in luck, here; but readers who prefer slow subtleties, or a kind of poetry that gradually expands in meaning on rereading, or ambitious craft, will not find it in a piece like "For Anne," which begins "With Annie gone, / Whose eyes to compare / With the morning sun?" Cohen's writing is oral in flavor, and asks us to "read" it mainly by hearing it. This works to the disadvantage of a book, where words stay put and aren't sung.
Copyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
To appreciate these poems, we must suspend any notions of poetry as an intellectual art form and approach this work as one would a rack of greeting cards. Rhyme abounds, frankly showing Cohen at his best because it holds his didactic nature in check. Although there are few surprises, such as the wonderful early poem "Beneath My Hands," the songs from Cohen's first album, written over thirty years ago, are still his finest displays of outrageous yet stunning imagery. The presence of lady as lover, prostitute, or slave, celebrated in these early songs, continues into his latest work, making over 400 pages seem remarkably flimsy. That these women never seem to exist as individuals will possibly offend readers with a feminist bent. Yet despite almost pornographic descriptions, this Jewish poet still will not write outG-d's name. The Buddhist element in his 1984 poetry collection, Book of Mercy , is now scarcely evident. Despite its flaws, this book is recommended for popular collections.
- Rochelle Ratner, formerly Poetry Editor, "Soho Weekly News," New YorkCopyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
Reader Reviews
- One of my top gift items: Turn people on to this book. It is a terrific, full anthology that includes much out-of-print material. The poetry is stylistically wide in scope (from how-did-he-do that perfect to sparse, intense, free-verse); it has unique, emotionally-driven language choices, rhythm and content. Its tenor is lugubrious, and its subject matter tends toward sex and religion. This, as opposed to his individual books of poetry: The individual books are typically short and some are wonderful -- each is very different, thus liked by different tastes. If you don't own any Cohen books, buy this first -- it's got great poems (plus clips of prose, as from "Beautiful Losers"). The chapters are laid out by book and album title (lyrics are here, too); therefore, if/when you want another book after, you will know which one. One thing I don't like about it is the change in poem titles from their originals. This books ends when Cohen is in his 50's, at least in the previously unpublished poems at the end -- so, before the monastery part of his life, though religion is well part of him (he is Orthodox Jewish and views his Buddhism as compatible with his Judaism). I'm not much a fan of his post-monastery work, and if I have one regret it's that I discovered Leonard Cohen within the past ten years, and never got to see him live. Know, too, that Cohen was a published poet--well-known in Canada--before he recorded music. He began to play guitar while reading poetry -- it went over well!
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