Philip Levine Quotes

My mother carried on and supported us; her ambition had been to write poetry and songs.

It's ironic that while I was a worker in Detroit, which I left when I was twenty six, my sense was that the thing that's going to stop me from being a poet is the fact that I'm doing this crummy work.

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

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

I'm seventy-one now, so it's hard to imagine a dramatic change.

Meet some people who care about poetry the way you do. You'll have that readership. Keep going until you know you're doing work that's worthy. And then see what happens. That's my advice.

Back then, I couldn't have left a poem a year and gone back to it.

I still believe in this country, that it can fulfill the destiny Blake and Whitman envisioned. I still believe in American poetry.

For sure I once thought of myself as the poet who would save the ordinary from oblivion.

I was very lucky to have a mother who encouraged me to become a poet.

I realized poetry's the thing that I can do 'cause I can stick at it and work with tremendous intensity.

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.

No one can write like Vallejo and not sound like a fraud. He's just too much himself and not you.

The irony is, going to work every day became the subject of probably my best poetry.

How weightless/ words are when nothing will do.

You have begun to separate the dark from the dark.

Corruption is subtle, just like the Bible said. Many young poets have come to me and asked, How am I gonna make it? They feel, and often with considerable justice, that they are being overlooked while others with less talent are out there making careers for themselves. I always give the same advice. I say, Do it the hard way, and you’ll always feel good about yourself. You write because you have to, and you get this unbelievable satisfaction from doing it well. Try to live on that as long as you’re able.

But most commonly, it's one poem that I work on with a lot of intensity.

My sense of a poem - my notion of how you revise - is: you get yourself into a state where what you are intensely conscious of is not why you wrote it or how you wrote it, but what you wrote.

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.

Listen to these young poets and you'll discover the voice of the present and hear the voice of the future before the future is even here.

There'll always be working people in my poems because I grew up with them, and I am a poet of memory.

I started listening to music when I wrote when I had three sons at home.

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.

But I'm too old to be written about as a young poet.

If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.

My temperament is not geared to that of a novelist.

I'm afraid we live at the mercy of a power, maybe a God, without mercy. And yet we find it, as I have, from others.

I write what's given me to write.

My earliest poems were a way of talking to somebody. I suppose to myself.

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.

I have a sense that many Americans, especially those like me with European or foreign parents, feel they have to invent their families just as they have to invent themselves.

You have to follow where the poem leads. And it will surprise you. It will say things you didn't expect to say. And you look at the poem and you realize, 'That is truly what I felt.' That is truly what I saw.

I listen to jazz about three hours a day. I love Louis Armstrong.

My father died when I was five, but I grew up in a strong family.