Being on the margins is, in fact, the key to this poet's work, both "historical" and "sensual." To fail to appreciate Cavafy's unique perspective, one that (as it were) allowed him to see history with a lover's eye, and love with a historian's eye, is to be deprived of a chance to see the great and moving unity of the poet's project.
Reading Cavafy you always sense that you are listening to a genuine individual. It is that sense of distinctly personal communication that makes his poems unique.
Bingo, Frank! And, I could say exactly the same thing about Lorca, as well, insofar as an authentic individual (yet trans-universal) voice rises from the arrangements and shapes and markings on their glorious pages; thus, it makes perfekk sense to me, despite the fact they were almost polar opposites in terms of personality and egoism (which is not egotism), that Leonard Cohen would similarly revere the work of both men to the point that a poem from each provides the scaffolding for a pair of his most highly achieved (and, to my ear and sensibility), most affective / effective tunes, "Take This Waltz" and "Alexandra Leaving." (I admit I love all three unconditionally, as well; also, I like to think that love is reflected in the work I do. Nuff said.)
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