38 ordspråk av Philip Levine

Philip Levine

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

American poets have been criticized for anything you can think of. For being too English, recently for not being English enough.

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

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

Well, don't kid yourself, I got plenty of crummy poems that I think I might use.

I'm saying look, here they come, pay attention. Let your eyes transform what appears ordinary, commonplace, into what it is, a moment in time, an observed fragment of eternity.

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.

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

I think in the best poems I make a lot of discoveries about voice, about subject, about what my real feelings are.

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.

In my twenties, before I learned how to write poems of work, I thought of myself as the person who would capture this world.

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.

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.

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

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