Leonard Cohen On The Mistaken Interpretation Of Sex In Beautiful Losers


The book [Beautiful Losers] sold 350,000 copies in paperback form in America but he couldn’t get it published in Britain because it was considered too obscene for anyone to handle.

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They didn’t realise that I wasn’t turning people on to sex but putting it downquotedown2

Leonard Cohen

 

From Leonard Cohen by Ray Connolly. Evening Standard, July 1968

Leonard Cohen on Beautiful Losers “I tried to wrestle with all the deities…extant now – the idea of saintliness, purity, pop, McLuhanism, evil, the irrational – all the gods we set up for ourselves”

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When there’s a complete wipe-out, there’s a renewal. In that book [Beautiful Losers] I tried to wrestle with all the deities that are extant now – the idea of saintliness, purity, pop, McLuhanism, evil, the irrational – all the gods we set up for ourselves.quotedown2

Leonard Cohen

Leonard Cohen quoted in “After the Wipe-Out, A Renewal” by Sandra Diwa, published in The Ubyssey (the student newspaper of the University of British Columbia), February 3, 1967.

Note: Originally posted Dec 22, 2014 at DrHGuy.com, a predecessor of Cohencentric

Leonard Cohen Reads Prose Poem From Beautiful Losers In 1967 Film: Poen – Video & Commentary

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Poen

Excerpt from The Poetry of Leonard Cohen Illustrated by Two Short Films by Josh Jones (Open Culture: July 18th, 2013)

Beautiful Losers’ dense system of historical references does put one in mind of Ulysses, but the language, the syntax, the eagle flights into the holy and dives into the profane, remind me somewhat of another Buddhist poet of Canadian extraction, Jack Kerouac. Cohen even sounds a bit like Kerouac, in the short 1967 film, “Poen,” an experimental piece that sets four readings of a prose-poem from Beautiful Losers to a montage of starkly provocative images from black-and-white film and photography, Goya, and various surrealists. Made by Josef Reeve for the National Film Board, the short reels out four different recorded takes of Cohen reading the poem. At the end of each reading, he says, “cut,” and the film fades to black. Taken from the novel’s context, the poem becomes a personal meditation on meditation, or perhaps on writing: “My mind seems to go out on a path, the width of a thread,” begins Cohen and unfolds an image of mental discovery like that described by Donald Barthelme, who once said “writing is a process of dealing with not-knowing…. At best there’s a slender intuition, not much greater than an itch.”

Excerpt from Deep Cuts: Leonard Cohen by Margaret Barton-Fumo  (Film Comment: Feb 6, 2017)

“My mind seems to go out on a path the width of a thread and of endless length…” opens the prose poem excerpted from Cohen’s novel, Beautiful Losers (1966). Cohen begins to recite the poem four times, getting further into the text with each try. A rapid montage of black and white still images accompany his voiceover up until the fourth iteration of the poem, which includes archival footage of people shooting guns, war zones, and general destruction. Each image connects in some way to a line of the poem, an individual word or interpretation, and each series of images is different from the next. The camera zooms and pans penetratingly over the shifting images, creating a live collage that both augments and is augmented by Cohen’s multivalent poem.

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“You wanted to be the Superman who was never Clark Kent.” From Beautiful Losers by Leonard Cohen

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Note: Leonard Cohen was, like me, a comic book aficionado. For more about this often overlooked early influence on the Canadian singer-songwriter, see

Note: Originally posted April 5, 2012 at DrHGuy.com, a predecessor of Cohencentric

2 Photos: A Very Young Leonard Cohen & His Sister Esther Visit Kahnawake – Once Home To Kateri Tekakwitha

indianKateri Tekakwitha (1656 – April 17, 1680), the Algonquin–Mohawk woman featured in Leonard Cohen’s 1966 novel, “Beautiful Losers” and canonized as a saint in 2012, moved to the Jesuit mission village of Kahnawake, south of Montreal, after she converted to Roman Catholicism at age nineteen and lived there the last five years of her life.

Thanks to Maarten Massa for access to these images

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