Even before he had much of an audience, Leonard Cohen had a distinct idea of the audience he wanted - he was out to reach inner-directed adolescents, lovers in all degrees of anguish, disappointed Platonists, pornography-peepers, hair-handed monks and Popists. Through his poems, novels and songs, he has managed to do so. His work has a death-haunted, spiritual texture. When asked if he intended his work to reflect a kind of spirituality, he hesitated before he answered. “I start with artistic dedication. I know that if the spirit is on you it will touch on to the other human receptors. But I dare not begin from the other side. It’s like pronouncing the holy name - you simply don’t do it. But if you are lucky, and you are graced, then these deeper responses will be produced.”
O! Barren land, hold me in winter, / stripped of all passions. / Let me,swollen with the vaults of summer/ recede, vast and unobliging.
Cups and plates and mugs and bowls line the cupboards of most of the houses in the little town of Braunton.
Reading the pages in which Borges goes over the traditions of time, I decided to learn about the work of one Carlos Bruno, of whom he talked in some passages.
Translations of a series of Spanish poems by different writers based around guitars and music
An essay rejecting Cohen's claim that poetry is not controlled or commanded by its creator.
I come from the race of potters. / I, their breath, an artisan of the earth. / I gather the smithereens from the soil
All night / a ghost with six fingers / has been sweeping / these same polydactyl chords
An indie rock piece from the Greek band 'The Dreamers,' based on the poem 'The Garden of Love' by William Blake.
Of each thought when—like an animal— / It leaps, the mind, from branch to branch. / Axons, corpus callosum, coliseums, did I
the voices of seagulls deceive mariners / they don’t signal how close soil is / but only warn the unlucky travellers
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