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Leonard Cohen - Death of a Ladys Man

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Contents
Original edition copyright Leonard Cohen 1978 First McClelland Stewart - photo 1
Original edition copyright Leonard Cohen 1978 First McClelland Stewart - photo 2

Original edition copyright Leonard Cohen, 1978

First McClelland & Stewart edition 1978.

This edition 2018.

All rights reserved. The use of any part of this publication reproduced, transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, or stored in a retrieval system, without the prior written consent of the publisheror, in case of photocopying or other reprographic copying, a licence from the Canadian Copyright Licensing Agencyis an infringement of the copyright law.

McClelland & Stewart and colophon are registered trademarks of Penguin Random House Canada

Library and Archives Canada Cataloguing in Publication

Cohen, Leonard, 1934-2016, author

Death of a ladys man / Leonard Cohen.

Originally published: 1978.

Poems.

Issued in print and electronic formats.

ISBN 9780771018237 (softcover).ISBN 9780771018244 (EPUB)

I. Title.

PS8505.O22L4 2018 C811.54 C2018-901608-6

C2018-901609-4

Book design by Five Seventeen

McClelland & Stewart,

a division of Penguin Random House Canada Limited,

a Penguin Random House Company

www.penguinrandomhouse.ca

v532 a to Masha Cohen the memory of my mother Contents This title contains - photo 3

v5.3.2

a

to Masha Cohen

the memory of my mother

Contents

This title contains long lines of poetry. The line of characters below indicates approximately the longest line in the text:

My dark companion photographs me among the daisies.

To most accurately reproduce the layout of the text on the printed page, you may choose to decrease the size of the text on your viewer and/or change the orientation of your screen until the above line of characters fits on a single line. This may not be possible on all e-reading devices. Viewing this title at a higher than optimal text size or on a screen too small to accommodate the longest lines in the text will alter the reading experience and may cause single lines of some poems to display as multiple lines of text. If this occurs, the turn of the line will be marked with a shallow indent.

I KNELT BESIDE A STREAM

I knelt beside a stream which was manifesting on a polished wooden floor in an apartment above Central Park. A feathered shield was fastened to my left forearm. A feathered helmet was lowered on my head. I was invested with a duty to protect the orphan and the widow. This made me feel so good I climbed on Alexandras double bed and wept in a general way for the fate of men. Then I followed her into the bathroom. She appeared to turn gold. She stood before me as huge as the guardian of a harbour. How had I ever thought of mastering her? With a hand of chrome and an immense Gauloise cigarette she suggested that I give up and worship her, which I did for ten years. Thus began the obscene silence of my career as a ladys man.

I KNELT BESIDE A STREAM

This curious paragraph is obviously distilled from a longer undated journal entry probably written during the spring or summer of 1975. I give it in its entirety.

Thinking of some times with Alexandra, one night when I wept for the injustice in the world, the promises I made to the weak and fatherless on her double bed. I knelt down beside a stream and I was invested with the high duty to protect them. Someone hooked a feathered shield on my forearm, and lowered a feathered helmet on my head. My left arm armoured, my right arm armoured, the mind fortified. This was not a dream. The stream flowed by me, manifested in a room above the pavement in New York. Later, just before I mastered her, she turned golden in the bathroom, gold and towering, suggesting strongly with an immense chrome hand that I give up and worship her. I think I did. My thighs were so thin she was alarmed. She thought I was starving.

Now I lie in a pool of fat, ashamed before the daisies to be what I am. Eight years ago, and then the obscene silence of my career, while the butchers climbed on the throne, and they hacked the veil away, and they stood there above us grinning, not even bothering to cover themselves. I made a treaty with those who saw, but I broke it under torture. I was divided into three parts. One part was given to a wife, one part was given to money, one part was given to the daisies. And Alexandra herself bound to the world, babies, a cigarette holder, an accent accelerating toward a wordless gargle and swoon in the Poets Corner. The last time we met, in the lobby of the Algonquin Hotel, I punished her by whispering, Some of us still take acid.

Distant battles you may say, but G-d, how ugly your clothes are. You wear them like the ludicrous stripes of bondage. And you are the winners. You are the guards. And even the butchers above you are not in command. I broke under the sentence of loneliness and the wound of my beautiful twin. These veterans are to be avoided, the old campaigns, the view from the foxhole. You can see them tapping away in every garden. And many other spirits complaining, the ground with a voice, the buried fig tree, and now at noon, the sun over the windmill, the signal of the yellow daisies.

YOUR MOMENT NOW

This is your moment now. I give you the knowledge to distinguish between what is holy and what is common. I touch you with a recollection of your grief. Here you are again, little priest. Bring your heart back to its place.

Looks like we wont

be making love at all

Too many people watching us

Looks like we wont

be meeting at the grill

Too many people touching us

Grease up your ass

Lets tear our love to pieces

Your beauty wont be anything

when I take off my glasses

Is that what theyre singing in the dungeons now? Is that the jingle muttered as slaves touch themselves? It is, O adventurous inspector of the semend cells, it is what theyre singing.

YOUR MOMENT NOW

But did he bring the heart back to its place? We hardly think so. We would say rather that he scattered the heart and made everyone uncomfortable. The piece begins at the centre, somewhat unified and calm, then it claws at its immediate vicinity like Edgar Allan Poe buried alive, then it makes a break for the surface which it achieves at the cost of fragmenting the original physic thrust, and is last seen evaporating among some half-uttered confessions of self-abuse. Reversing the order of the sentences results in a more salutary effect:

Bring your heart back to its place. Here you are again, little priest. I touch you with a recollection of your grief. I give you the knowledge to distinguish between what is holy and what is common. This is your moment now.

THE CAF

The beauty of my table.

The cracked marble top.

A brown-haired girl ten tables away.

Come with me.

I want to talk.

Ive taken a drug that makes me want to talk.

THE CAF

The notebooks indicate that this caf was situated near the waterfront in the port of Piraeus. I could not find it. Upon inquiry, I discovered that it had been demolished and the marble tabletops thrown into the harbour. The brunette, who was thin then, is now a skeleton. Her sleeveless summer frock is for sale on Deluth Street on a wire hanger. The little cardboard boxes of Maxiton, the flat sliding metal containers of Ritalin, quite absent from self-service pharmacies. The pretty conversation dissolved immediately into the sunlight which is why it was urgent and breathless. Standing on the quay, I saw some ghostly shapes in the depths but I was told they were sunken Javex bottles.

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