virtue of patience

LEVINE: I was unable to write any poetry about my working life while that was my working life. I tried a few times. And the poems were hysterical. I think they were just - you know, I couldn't control them. My anger was so overwhelming that I couldn't cope with it, just as I couldn't write about my boyhood very effectively until I was 40. It was still too powerful for me. But I'm patient, so I hung in there. And that's probably by chief virtue as a writer is my patience. So I waited, and I kept trying to write about factory work but I kept throwing the poems away. And the first poem I ever published about working in a factory, I was, I think, 31 or 2, but I don't like the poem anymore.

GROSS: Can you give me a sense of what was going wrong in the factory poems when you were still there? Is there anything...

LEVINE: Yes, I can. The language was overblown. You know, I wanted to use the word ‘eternity’ and - you know. I wanted to use a kind of Latin diction to - almost a Miltonic diction and a great chorus - build up a great chorus of sound and - to dramatize the horror show of some of the places I had worked. And I didn't have any - there was no tenderness in it for the people that I worked with. There was no - and that was a, you know - that was part of the reward that I got for those years was the people I was meeting, even though you didn't talk to them that much because places were often so loud. But you'd meet them afterwards or you'd make friends with them and spend time with them. And they weren't getting in the poems at all. The poems were, you know, my poor soul being hammered out of shape by General Motors. And they were a bit self-indulged.

—Philip Levine, in an interview with Terry Gross on NPR's Fresh Air, 1991.

no art, only artists

There is no such thing as art...There are only artists who are favoured with a gift of balancing shapes and colours until they get it right. And, rarer still, who possess the integrity of character which never rests content with half solutions, but is ready to forgo all easy effects, all superficial success for the toil and agony of sincere work.

—E. H. Gombrich, The Story of Art (1950)