jane hirshfield / chen chen / philip levine
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Philip Levine, 'Godspell' // Neon Genesis Evangelion, 'The Beginning and the End, or "Knockin' on Heaven's Door"'
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from godspell by philip levine, published in the last shift
[Text ID: A lifetime passes / in the blink of an eye. You look back and think, / That was heaven, so of course it had to end. /End ID]
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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.
Philip Levine, from 7 Years from Somewhere: Poems
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A lifetime passes in the blink of an eye. You look back and think, that was heaven, so of course it had to end.
Growing Season, Philip Levine
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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.
PHILIP LEVINE
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wait on the wind, catch a scent of salt, call it our life
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.
— Philip Levine, from "Our Valley” in News of the World (Knopf, February 15, 2011)
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Philip Levine - The Second Going
Again the
day begins, only
no one wants its sanity
or its blinding clarity. Daylight is
not what we came all this way for. A
pinch of salt, a drop of schnapps in our cup
of tears, the ticket to the life to come, a short life of
long nights & absent dawns & a little mercy in the tea.
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The Unknowable // Philip Levine
Practicing his horn on the Williamsburg Bridge
hour after hour, "woodshedding" the musicians
called it, but his woodshed was the world.
The enormous tone he borrowed from Hawkins
that could fill a club to overflowing
blown into tatters by the sea winds
teaching him humility, which he carries
with him at all times, not as an amulet
against the powers of animals and men
that mean harm or the lure of the marketplace.
No, a quality of the gaze downward
on the streets of Brooklyn or Manhattan.
Hold his hand and you'll see it, hold his eyes
in yours and you'll hear the wind singing
through the cables of the bridge that was home,
singing through his breath--no rarer than yours,
though his became the music of the world
thirty years ago. Today I ask myself
how he knew the time had come to inhabit
the voice of the air and how later
he decided the time had come for silence,
for the world to speak any way it could?
He wouldn't answer because he'd find
the question pompous. He plays for money.
The years pass, and like the rest of us
he ages, his hair and beard whiten, the great
shoulders narrow. He is merely a man--
after all--a man who stared for years
into the breathy, unknowable voice
of silence and captured the music.
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Ghosts Are Real: Poets And Their Voices by Sophie E. Eikli
What is a ghost? Is it a figure; an apparition moored by grief and trauma, unable to move on from a battlefield or house? Or is it a feeling within us, a nonlinear emotion that arises within us upon interaction with an environment. My suggestion of a definition is this- a ghost is the concentrated substance of a person who is no longer there. A ghost is the continuation of someone or something who has ceased to exist on the physical plane.
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Read my essay on poets’ voices, discussing such figures as Philip Levine and Sylvia Plath, here!
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PITFALL FOR POETS
"It is the imagination that gives us poetry. When you sit down to write a poem, you really don't know where you're going. If you know where you're going, the poem stinks, you probably already wrote it, and you're imitating yourself."
– Philip Levine
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philip levine - what work is
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You Can Have It
My brother comes home from work
and climbs the stairs to our room.
I can hear the bed groan and his shoes drop
one by one. You can have it, he says.
The moonlight streams in the window
and his unshaven face is whitened
like the face of the moon. He will sleep
long after noon and waken to find me gone.
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 labors, hands
yellowed and cracked, a mouth that gasps
for breath and asks, Am I gonna make it?
All night at the ice plant he had fed
the chute its silvery blocks, and then I
stacked cases of orange soda for the children
of Kentucky, one gray boxcar at a time
with always two more waiting. We were twenty
for such a short time and always in
the wrong clothes, crusted with dirt
and sweat. I think now we were never twenty.
In 1948 in the city of Detroit, founded
by de la Mothe Cadillac for the distant purposes
of Henry Ford, no one wakened or died,
no one walked the streets or stoked a furnace,
for there was no such year, and now
that year has fallen off all the old newspapers,
calendars, doctors’ appointments, bonds,
wedding certificates, drivers licenses.
The city slept. The snow turned to ice.
The ice to standing pools or rivers
racing in the gutters. Then bright grass rose
between the thousands of cracked squares,
and that grass died. I give you back 1948.
I give you all the years from then
to the coming one. Give me back the moon
with its frail light falling across a face.
Give me back my young brother, hard
and furious, with wide shoulders and a curse
for God and burning eyes that look upon
all creation and say, You can have it.
-- Philip Levine
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Wherever you are now there is earth
somewhere beneath you waiting to take
the little you leave. This morning I rose
before dawn, dressed in the cold, washed
my face, ran a comb through my hair
and felt my skull underneath, unrelenting,
soon the home of nothing. The wind
that swirled the sand that day years ago
had a name that will outlast mine
by a thousand years, though made of air,
which is what I too shall become, hopefully,
air that says quietly in your ear,
“I’m dust and memory, your two neighbors
on this cold star.”
Philip Levine, from Dust and Memory
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national poetry month, day 29
Today and Two Thousand Years from Now
The job is over. We stand under the trees
waiting to be told what to do,
but the job is over.
The darkness pours between the branches above,
but the moon’s not yet
on its walk
through the night sky trailed by stars.
Suddenly a match flares, I see
there are only us two,
you and me, alone together in the great room
of the night world, two laborers
with nothing to do,
so I lean to the little flame and light my Lucky
and thank you, comrade, and again
we are in the dark.
Let me now predict the future. Two thousand years
from now we two will be older,
wiser, having escaped
the fleeting incarnations of workingmen.
We will have risen from the earth
of southern Michigan
through the tangled roots of Chinese elms
or ancient rosebushes to take
the tainted air
into our leaves and send it back, purified,
down the same trail we took
to escape the dark.
Two thousand years passed in a flash to shed
no more light than a wooden match
gave under the trees
when you and I were lost kids, more scared than
now, but warm, useless, with names
and different faces.
—Philip Levine
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—Philip Levine, By Bus to Fresno
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