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Levine Philip - Elegy

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Levine Philip Elegy

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A few days before his death in 1996, Larry Levis mentioned to his friend and former instructor Philip Levine that he had an all-but-completed manuscript of poems. Levine had years earlier recognized Levis as the most gifted and determined young poet I have ever had the good fortune to have in one of my classes; after Leviss death, Levine edited the poems Levis had left behind. What emerged is this haunting collection, Elegy.The poems were written in the six years following publication of his previous book, The Widening Spell of the Leaves, and continue and extend the jazz improvisatio.;Contents ; Foreword by Philip Levine ; I ; The Two Trees ; In 1967 ; The Oldest Living Thing in L.A. ; Anastasia and Sandman ; Photograph: Migrant Worker, Parlier, California, 1967 ; Shiloh ; The Poem Returning as an Invisible Wren to the Wild ; II ; The Thief in the Painting ; Boy in Video Arcade ; The Cook Grew Lost in his Village, the Village in the Endless Shuffling of Their Cards ; The Smell of the Sea ; Elegy with a Petty Thief in the Rigging ; Elegy for Whatever Had a Pattern in It ; III

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PITT POETRY SERIES Ed Ochester Editor Published by the University of - photo 1
PITT POETRY SERIES Ed Ochester, Editor Published by the University of Pittsburgh Press,
Pittsburgh, Pa. 15261 Copyright 1997, University of Pittsburgh Press
All rights reserved Manufactured in the United States of America
Printed on acid-free paper
10 9 8 7 Library of Congress Cataloging-in-Publication data and acknowledgments are located at the end of this book. ISBN-13: 978-0-8229-9098-7 (electronic) THE PUBLICATION OF THIS BOOK IS SUPPORTED BY A GRANT FROM THE PENNSYLVANIA COUNCIL ON THE ARTS
Foreword
PHILIP LEVINE What follows is a collection of poems, a unified book I hope, carved from the work Larry Levis left behind when he died suddenly and unexpectedly in May 1996. Larry and I had spoken on the phone only a few days before he died; he planned then to bring an all-but-completed manuscript with him when he returned to California in June to visit his mother in the Central Valley. That visit, of course, never took place, nor did the meeting of the two of us during which we'd planned to look over this new book, portions of which I'd already received in the mail during the past few years. I truly have no way of knowing what that all-but-completed manuscript would have looked like, for what was finally placed in my hands were a great many poems in various drafts and stages of completion all written since the completion of his collection The Widening Spell of the Leaves (1991).

I have written elsewhere of my long relationship with Larry. I met him when he was a freshman at California State University, Fresno. He was the most gifted and determined young poet I have ever had the good fortune to have in one of my classes. We soon became friends, and for over twenty-five years we had exchanged poems and drafts of poems. For at least fifteen years he had become my essential critic. I do not know if I filled that role in his poetic life.

My educated guess is that I filled that role until about 1990; somewhere around that time he became his own essential critic. Before his death I had seen only a fragmentprobably one out of fourof the poems in the present collection. Nonetheless, his sister, Sheila Brady, the person I believe he was closest to, asked me to edit this book, and I accepted the task. I have rewritten nothing. I have revised nothing. I have done my best to determine which poems Larry felt were completed or had gone as far as he could take them.

I've tried to include the final or the last versions of these poems. By no means have I included all the poems I believed Larry considered finished. I had no choice but to trust my own taste; I believe that if we had had that June meeting I would have helped him eliminate those poems not up to his own very high standards. He had helped me shape my last three books and had advised me to eliminate a number of poems. I had done the same for him with all his previous volumes. I could say that this time I was on my own, but it would not be true, for twoof Larry's oldest friends, superb poets in their own right, were invaluable; without their advice I truly doubt that this collection would exist.

Peter Everwine first showed me that Larry was not cannibalizing certain passages from some poems in order to heighten and enlarge other more ambitious poems, but that in fact he was using these motifs or riffs to unify the collection he had in mind. Peter's taste seemed unerring, and I used it almost without fail in determining what belonged in the collection and what did not. To David St. John I owe the scheme which finally determined the structure of the book. His sense of the shape the collection required was far more judicious and compelling than my own, and so I adopted it with some modifications. Without the generous guidance of these two poets I would still be at sea and this collection would not exist.

All the final determinations were my own, and if there are mistakes in taste and judgment here they are mine. Greg Donovan, Mary Flinn, and Amy Tudor, Larry's three close and loyal friends in Richmond, his final home, worked tirelessly to supply me with (and when it was possible to date) the various versions of the poems, the ones that are here and the ones that are not. Without their help there would be no book. The poems themselves require no introduction from me or anyone. They were written by one of our essential poets at the very height of his powers.

I
The Two Trees
My name in Latin is light to carry & victorious.
I
The Two Trees
My name in Latin is light to carry & victorious.

I'd read late in the library, then Walk out past the stacks, rows, aisles Of books, where the memoirs of battles slowly gave way To case histories of molestation & abuse. The black windows looked out onto the black lawn. Picture 2 Friends, in the middle of this life, I was embraced By failure. It clung to me & did not let go. When I ran, brother limitation raced Beside me like a shadow. Have you never Felt like this, everyone you know, Turning, the more they talked, into Acquaintances? So many strong opinions! And when I tried to speak Someone always interrupting.

My head ached. And I would walk home in the blackness of winter. I still had two friends, but they were trees. One was a box elder, the other a horse chestnut. I used to stop on my way home & talk to each Of them. The three of us lived in Utah then, though We never learned why, me, acer negundo, & the other One, whose name I can never remember.

Everything I have done has come to nothing. It is not even worth mocking, I would tell them, And then I would look up into their limbs & see How they were covered in ice. You do not even Have a car anymore, one of them would answer. All their limbs glistening above me, No light was as cold or clear. I got over it, but I was never the same, Hearing the snow change to rain & the wind swirl, And the gull's cry, that it could not fly out of. In time, in a few months, I could walk beneath Both trees without bothering to look up Anymore, neither at the one Whose leaves & trunk were being slowly colonized by Birds again, nor at the other, sleepier, more slender One, that seemed frail, but was really Oblivious to everything.

Simply oblivious to it, With the pale leaves climbing one side of it, An obscure sheen in them, And the other side, for some reason, black, bare, The same, almost irresistible, carved indifference In the shape of its limbs As if someone's cries for help Had been muffled by them once, concealed there, Her white flesh just underneath the slowly peeling bark while the joggers swerved around me & I stared Still tempting me to step in, find her, And possess her completely.

In 1967
Some called it the Summer of Love; & although the clustered, Motionless leaves that overhung the streets looked the same As ever, the same as they did every summer, in 1967, Anybody with three dollars could have a vision. And who wouldn't want to know what it felt like to be A cedar waxwing landing with a flutter of gray wings In a spruce tree, & then disappearing into it, For only three dollars? And now I know; its flight is ecstasy. No matter how I look at it, I also now know that The short life of a cedar waxwing is more pure pleasure Than anyone alive can still be sane, & bear. And remember, a cedar waxwing doesn't mean a thing, Qua cedar or qua waxwing, nor could it have earned That kind of pleasure by working to become a better Cedar waxwing. They're all the same.

Show me a bad cedar waxwing, for example, & I mean A really morally corrupted cedar waxwing, & you'll commend The cage they have reserved for you, resembling heaven. Some people spent their lives then, having visions. But in my case, the morning after I dropped mescaline I had to spray Johnson grass in a vineyard of Thompson Seedless My father owned& so, still feeling the holiness of all things Living, holding the spray gun in one hand & driving with the other, The tractor pulling the spray rig & its sputtering motor Row after row, I sprayed each weed I found That looked enough like Johnson grass, a thing alive that's good For nothing at all, with a mixture of malathion & diesel fuel, And said to each tall weed, as I coated it with a lethal mist,

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