Philip Levine Quotes

Some things you know all your life. They are so simple and true they must be said without elegance, meter and rhyme...they must be naked and alone, they must stand for themselves.

You have begun to separate the dark from the dark.

I find you in these tears, few, useless and here at last. Don't come back.

How weightless words are when nothing will do.

Now I must wait and be still and say nothing I don't know, nothing I haven't lived over and over, and that's everything.

Let me begin again as a speck of dust caught in the night winds sweeping out to sea. Let me begin this time knowing the world is salt water and dark clouds, the world is grinding and sighing all night, and dawn comes slowly, and changes nothing.

I look over at my hero shelf and see Philip Levine, Rainer Maria Rilke, Virginia Woolf, Shunryu Suzuki, Adrienne Rich, Pablo Neruda, Subcomandante Marcos, Eduardo Galeano, James Baldwin. These books are, if they are instructions at all, instructions in extending our identities out into the world, human and nonhuman, in imagination as a great act of empathy that lifts you out of yourself, not locks you down into your gender. (“80 Books No Woman Should Read”)

… the river sliding along its banks, darker now than the sky descending a last time to scatter its diamonds into these black waters that contain the day that passed, the night to come. — Excerpt from the poem “The Mercy

I say, Father, the years have brought me here, still your son, they have brought me to a life I cannot understand.

Now I think poetry will save nothing from oblivion, but I keep writing about the ordinary because for me it's the home of the extraordinary, the only home.

Let your eyes transform what appears ordinary into what it is… a moment in time; an observed fragment of eternity.

As you know, Joyce was a writer who asked his reader to give him a lifetime,” he said. “I am that reader, and I can tell you it was a wasted life.

Don't scorn your life just because it's not dramatic, or it's impoverished, or it looks dull, or it's workaday. Don't scorn it. It is where poetry is taking place if you've got the sensitivity to see it, if your eyes are open." --Philip Levine, describing what he learned from William Carlos Williams, via NPR

From they sack and they belly opened And all that was hidden burning on the oil-stained earth They feed they Lion and he comes.

No one that night turned into literature, nothing that we did or didn't entered the mythology of boys growing into men or girls fighting to be people.

Oh, yes, let’s bless the imagination. It gives us the myths we live by. Let’s bless the visionary power of the human— the only animal that’s got it—, bless the exact image of your father dead and mine dead, bless the images that stalk the corners of our sight and will not let go.

Thirty years will pass before I remember that moment when suddenly I knew each man has one brother who dies when he sleeps and sleeps when he rises to face this life, and that together they are only one man sharing a heart that always labours, hands yellowed and cracked, a mouth that gasps for breath and asks, Am I gonna make it?

Don't scorn your life just because it's not dramatic, or it's impoverished, or it looks dull, or it's workaday. Don't scorn it. It is where poetry is taking place if you've got the sensitivity to see it, if your eyes are open.

I believed even then that if I could transform my experience into poetry I would give it the value and dignity it did not begin to possess on its own. I thought too that if I could write about it I could come to understand it; I believed that if I could understand my life—or at least the part my work played in it—I could embrace it with some degree of joy, an element conspicuously missing from my life.

Our Valley We don't see the ocean, not ever, but in July and August when the worst heat seems to rise from the hard clay of this valley, you could be walking through a fig orchard when suddenly the wind cools and for a moment you get a whiff of salt, and in that moment you can almost believe something is waiting beyond the Pacheco Pass, something massive, irrational, and so powerful even the mountains that rise east of here have no word for it. You probably think I'm nuts saying the mountains have no word for ocean, but if you live here you begin to believe they know everything. They maintain that huge silence we think of as divine, a silence that grows in autumn when snow falls slowly between the pines and the wind dies to less than a whisper and you can barely catch your breath because you're thrilled and terrified. You have to remember this isn't your land. It belongs to no one, like the sea you once lived beside and thought was yours. Remember the small boats that bobbed out as the waves rode in, and the men who carved a living from it only to find themselves carved down to nothing. Now you say this is home, so go ahead, worship the mountains as they dissolve in dust, wait on the wind, catch a scent of salt, call it our life.

Gospel The new grass rising in the hills, the cows loitering in the morning chill, a dozen or more old browns hidden in the shadows of the cottonwoods beside the streambed. I go higher to where the road gives up and there’s only a faint path strewn with lupine between the mountain oaks. I don’t ask myself what I’m looking for. I didn’t come for answers to a place like this, I came to walk on the earth, still cold, still silent. Still ungiving, I’ve said to myself, although it greets me with last year’s dead thistles and this year’s hard spines, early blooming wild onions, the curling remains of spider’s cloth. What did I bring to the dance? In my back pocket a crushed letter from a woman I’ve never met bearing bad news I can do nothing about. So I wander these woods half sightless while a west wind picks up in the trees clustered above. The pines make a music like no other, rising and falling like a distant surf at night that calms the darkness before first light. “Soughing” we call it, from Old English, no less. How weightless words are when nothing will do.

Levine found that in general, the cities with the fastest pace of life were the least helpful.

If she were writing by candlelight she would now be in the dark, for a living flame would refuse to be fed by such pure exhaustion. Actually she is in the dark, for the

If she were writing by candlelight she would now be in the dark, for a living flame would refuse to be fed by such pure exhaustion.

The earth drinks all that’s left of you and asks for more.

I am the soul stretching into the furthest reaches of my fingers and beyond from “Last Words,” The New Yorker, Poems: December 13, 1982 Issue.

I have tried to write poetry for people for whom there is no poetry.

How weightless words are when nothing will do. from “Gospel

To be alone then, hearing only breeze, your own breath rising to answer with words you didn’t know you knew the pale questions of the full moon, to know for the first time you are without a name or number.

Yet Trump still lacked a big-name, credible Washington attorney on his personal legal team, one with the backing of a powerhouse firm. In an all-hands-on-deck push, Trump’s advisers reached out to Ted Olson, A. B. Culvahouse Jr., Emmet Flood, Robert Giuffra, Paul Clement, and Dan Levin. All of them followed Sullivan’s lead, giving a polite no.

The Mercy The ship that took my mother to Ellis Island eighty-three years ago was named "The Mercy." She remembers trying to eat a banana without first peeling it and seeing her first orange in the hands of a young Scot, a seaman who gave her a bite and wiped her mouth for her with a red bandana and taught her the word, "orange," saying it patiently over and over. A long autumn voyage, the days darkening with the black waters calming as night came on, then nothing as far as her eyes could see and space without limit rushing off to the corners of creation. She prayed in Russian and Yiddish to find her family in New York, prayers unheard or misunderstood or perhaps ignored by all the powers that swept the waves of darkness before she woke, that kept "The Mercy" afloat while smallpox raged among the passengers and crew until the dead were buried at sea with strange prayers in a tongue she could not fathom. "The Mercy," I read on the yellowing pages of a book I located in a windowless room of the library on 42nd Street, sat thirty-one days offshore in quarantine before the passengers disembarked. There a story ends. Other ships arrived, "Tancred" out of Glasgow, "The Neptune" registered as Danish, "Umberto IV," the list goes on for pages, November gives way to winter, the sea pounds this alien shore. Italian miners from Piemonte dig under towns in western Pennsylvania only to rediscover the same nightmare they left at home. A nine-year-old girl travels all night by train with one suitcase and an orange. She learns that mercy is something you can eat again and again while the juice spills over your chin, you can wipe it away with the back of your hands and you can never get enough.

Insofar as craft and poetics in a poem have a politics, I wanted to avoid that brittle enjambed-prose-sentence-lyric verse, where you have standard sentences snapped off and scattered decoratively across the page (which I might go out on a limb and say was characteristic of some leftist poets, Beat poets, street poets and populist poets of the 70s and 80s—all of whom I basically view as comrades, I should probably say, to this day) and on the other hand I also wanted my poetics to operate differently than those more right-wing academics—in practice—even if in their poems or statements they proclaim public leftist views or ideas—they remain academic poets, operating in elite university-supported circles, institutionalized and reading before institutional audiences, awarding grants and awards to each other, sitting on each other’s grants panels, awards and tenure committees, as Philip Levine admitted in an interview in Don’t Ask, 'giving prizes to friends.

Let Me Begin Again” Let me begin again as a speck of dust caught in the night winds sweeping out to sea. Let me begin this time knowing the world is salt water and dark clouds, the world is grinding and sighing all night, and dawn comes slowly and changes nothing. Let me go back to land after a lifetime of going nowhere. This time lodged in the feathers of some scavenging gull white above the black ship that docks and broods upon the oily waters of your harbor. This leaking freighter has brought a hold full of hayforks from Spain, great jeroboams of dark Algerian wine, and quill pens that can’t write English. The sailors have stumbled off toward the bars of the bright houses. The captain closes his log and falls asleep. 1/10’28. Tonight I shall enter my life after being at sea for ages, quietly, in a hospital named for an automobile. The one child of millions of children who has flown alone by the stars above the black wastes of moonless waters that stretched forever, who has turned golden in the full sun of a new day. A tiny wise child who this time will love his life because it is like no other.

Poetry is like truth: on one level it simply is, and as such it is available to anyone. Anyone, that is, who will spend himself or herself to receive it, for no one has an inherent right to truth. One must earn it, and one earns the truth by honoring it, by treasuring it in a thousand daily acts, by shaping one’s life to both give it and receive it. The emperors have their treasures, and we have ours. [Larry] Levis said it perfectly when he spoke in the voice of Whitman, which is the voice of American poetry; ‘To find me now will cost you everything.

If you stand / there long enough the air will thicken / with dusk and dust and exhaust / and finally with / a starless dark. The day will become something / it's never been before, something for / which I have no name.

The Evolution of Adam: What the Bible Does and Doesn’t Say About Human Origins. Grand Rapids: Baker, 2012. *Goldingay, John. Theological Diversity and the Authority of the Old Testament. Grand Rapids: Eerdmans, 1987. Gorman, Michael. Reading Paul. Eugene, OR: Cascade, 2008. Hawk, L. Daniel. Joshua in 3-D: A Commentary on Biblical Conquest and Manifest Destiny. Eugene, OR: Cascade, 2011. *Japhet, Sara. The Ideology of the Book of Chronicles and Its Place in Biblical Thought. Ann Arbor: American Oriental Society, 2009. Jenkins, Philip. Laying Down the Sword: Why We Can’t Ignore the Bible’s Violent Verses. San Francisco: HarperOne, 2011. Johnson, Luke Timothy. The Real Jesus: The Misguided Quest for the Historical Jesus and the Truth of the Traditional Gospels. San Francisco: HarperSanFrancisco, 1996. Knight, Douglas A., and Amy-Jill Levine, The Meaning of the Bible: What the Jewish Scriptures and Christian Old

I speak to H. in a bar         in downtown L.A. Over a schooner of beer         he waits out the day

...with no morning the day is sold.

He embodied what he worshipped, the exquisite in the commonplace…salt for the spirit.

In the hands of these two experienced scholars, time becomes a tool for helping us understand and better control . . . the way we live our lives.” —Robert V. Levine, Ph.D., Professor of Psychology, California State University, Fresno, and author of Journeys in Social Psychology

When her eyes spilled over with happiness, I saw she took your words to heart as I never could.

...two brothers held together by what they can't share.

All day I searched shopwindows, record bins, bookstores, even a Greek bakery for a hint of what I can't say.