'Where We Live Now' by Philip Levine
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1We live here because the housesare clean, the lawns runright to the streetand the streets run away.No one walks here.No one wakens at night or dies.The cars sit open-eyedin the driveways.The lights are on all day.2At home forever, she has removedher long foreign namesthat stained her face like hair.She smiles at you, and you thinktears will start from the cornersof her mouth. Such a lookof tenderness, you look away.She's your sister. Quietly she says,You're a shit, I'll get you for it.3Money's the same, he says.He brings it home in white slabsthat smell like soap.Throws them downon the table as thoughhe didn't care.The children hearand come in from play glowinglike honey and so hungry.4With it all we havesuch a talent for laughing.We can laugh at anything.And we forget no one.She listens to motheron the phone, and he remembersthe exact phrasing of a child's sorrows,the oaths taken by bear and tigernever to forgive.5On Sunday we're having a party.The children are taken awayin a black Dodge, their faces erasedfrom the mirrors. Outside a scumis forming on the afternoon.A car parks but no one gets out.Brother is loading the fridge.Sister is polishing and spraying herself.Today we're having a party.6For fun we talk about you.Everything's better for being said.That's a rule.This is going to be some long night, she says.How could you? How could you?For the love of mother, he says.There will be no dawnuntil the laughing stops. Even the pinesare burning in the dark.7Why do you love me? he says.Because. Because.You're best to me, she purrs.In the kitchen, in the closets,behind the doors, above the toilets,the calendars are eating it up.One blackened one watches youlike another window. Whyare you listening? it says.8No one says, There's a war.No one says, Children are burning.No one says, Bizniz as usual.But you have to take it all back.You have to hunt through your socksand dirty underwearand crush each word. If you're seriousyou have to sit in the cornerand eat ten new dollars. Eat'em.9Whose rifles are broodingin the closet? What arethe bolts whisperingback and forth? And the pyramidsof ammunition, so manyhungry mouths to feed.When you hide in bedthe revolver under the pillowsmiles and shows its teeth.10On the last night the childrenwaken from the same dreamof leaves burning.Two girls in the darkknowing there are no wolvesor bad men in the room.Only electricity on the loose,the television screaming at itself,the dishwasher tearing its heart out.11We're going away. The houseis too warm. We disconnectthe telephone.Bones, cans, broken dolls, bronzed shoes,ground down to face powder. Burnthe toilet paper collected in the basement.Take back the bottles.The back stairs are raining glass.Cancel the milk.12You may go now, says Cupboard.I won't talk,says Clock.Your bag is black and waiting.How can you leave your house?The stove hunches its shoulders,the kitchen table stares at the sky.You're heaving yourself out in the snowgroping toward the front door.
Editor 1 Interpretation
Where We Live Now: A Critique and Interpretation
Oh, boy, where do I even begin with Philip Levine's masterpiece, Where We Live Now? This book of poetry is a journey through the landscapes of America, its cities, factories, and people. Levine has a way of capturing the essence of the working-class life and the struggles of everyday people. In this critique and interpretation, we will explore the themes, motifs, and literary devices used in Where We Live Now.
Overview
Firstly, let's talk about the structure of this book. It is divided into three sections: "Coming Home", "The Names of the Lost", and "Where We Live Now". Each of these sections is comprised of several poems that explore different themes and subjects. The poems are written in free verse, with no consistent rhyme or meter, which gives them a raw and unfiltered quality.
Themes
The main themes in Where We Live Now are the working-class life and identity, the decline of the industrial age, and the search for meaning in a changing world. Levine writes about the people who work in factories, mills, and warehouses, and the toll that this type of work takes on their bodies and minds. He also touches on the decline of the American manufacturing industry and the loss of jobs and communities that came with it. Finally, Levine explores the search for meaning in a world that is constantly changing and evolving.
Motifs
One of the motifs that stands out in Where We Live Now is the use of imagery related to the body. Levine often describes the physical toll that work takes on the body, whether it be the calluses on a worker's hands or the chronic pain in their back. This motif emphasizes the physicality of the working-class life and the way that it shapes a person's identity.
Another motif that is prevalent in this book is the use of names. Levine often writes about people by name, giving them a sense of agency and individuality. This is especially significant in a world where workers are often reduced to numbers and statistics.
Literary Devices
Levine's use of literary devices is masterful, adding depth and nuance to his poetry. One of the most striking examples of this is his use of repetition. In the poem "Coming Home, I Found My Brother Dancing", Levine repeats the line "I found my brother dancing" throughout the poem, emphasizing the joy and freedom that the narrator feels at seeing his brother dance.
Another literary device that Levine uses effectively is imagery. In the poem "What Work Is", he describes the factory workers as "ghosts", emphasizing the way that their work has dehumanized them. This imagery is haunting and powerful, underscoring the themes of the book.
Interpretation
At its core, Where We Live Now is a book about the working-class experience and the challenges that come with it. Levine writes about a world that is disappearing, where the factories and mills that once provided a livelihood for so many are now in decline. He also explores the way that this decline has affected people's identities and sense of self.
But beyond that, Where We Live Now is a book about hope. Levine writes about people who are struggling but who are also resilient and capable of finding joy and meaning in their lives. In the poem "Coming Home, I Found My Brother Dancing", the narrator finds joy in the simple act of seeing his brother dance. This is a testament to the human spirit and the way that people can find meaning and purpose even in the most difficult of circumstances.
Conclusion
Where We Live Now is a masterpiece of American poetry, a book that captures the essence of the working-class experience and the challenges that come with it. Levine's use of literary devices and imagery is masterful, adding depth and nuance to his poetry. But beyond that, this book is a powerful testament to the resilience and hope of the human spirit.
Editor 2 Analysis and Explanation
Poetry Where We Live Now: A Masterpiece by Philip Levine
Poetry is a powerful medium that can capture the essence of a place, a time, and a people. Philip Levine, one of the most celebrated American poets of the 20th century, was a master of this art. His collection of poems, "Where We Live Now," is a testament to his ability to capture the spirit of his hometown, Detroit, and the people who lived there.
In this article, we will explore the themes, imagery, and language used in "Where We Live Now" and how they contribute to the overall impact of the collection.
Themes
The overarching theme of "Where We Live Now" is the struggle of the working class in a post-industrial society. Levine grew up in Detroit during the Great Depression and witnessed firsthand the impact of the decline of the auto industry on the city and its people. His poems reflect the hardships and challenges faced by the working-class families who lived in the city.
One of the recurring themes in the collection is the loss of jobs and the resulting poverty. In "Coming Home, Detroit, 1968," Levine writes about the "empty factories" and "boarded-up stores" that line the streets of the city. He describes the "hollowed-out" buildings and the "broken windows" that are a constant reminder of the economic decline of the city. The poem "The Simple Truth" is another example of this theme. Levine writes about the "men and women" who "work all day" and "come home to darkness" because they cannot afford to pay their electric bills.
Another theme that runs through the collection is the sense of community and solidarity among the working-class families. In "The Mercy," Levine writes about the "old men" who gather in the park to play cards and "talk about their lives." He describes the "women" who "sit on stoops" and "watch the children play." These images evoke a sense of belonging and shared experience that is a source of comfort and strength for the people in the community.
Imagery
Levine's use of imagery is one of the most striking features of "Where We Live Now." He paints vivid pictures of the city and its people, using sensory details to bring his poems to life.
In "Coming Home, Detroit, 1968," Levine describes the "gray light" that "filters through the clouds" and the "smell of gasoline" that hangs in the air. He writes about the "cracked sidewalks" and the "weeds" that grow in the empty lots. These images create a sense of desolation and decay that is a hallmark of the city in the 1960s.
In "The Simple Truth," Levine uses imagery to convey the sense of isolation and despair felt by the working-class families. He writes about the "darkness" that fills their homes and the "cold" that seeps through the walls. He describes the "frost" that covers the windows and the "wind" that howls through the streets. These images create a sense of bleakness and hopelessness that is palpable.
Language
Levine's language is simple and direct, yet powerful. He uses everyday language to convey complex emotions and ideas. His poems are accessible to a wide audience, yet they are also deeply moving and thought-provoking.
In "Coming Home, Detroit, 1968," Levine uses repetition to create a sense of urgency and desperation. He repeats the phrase "I'm coming home" throughout the poem, emphasizing the speaker's desire to return to a place that is no longer the same. The repetition also creates a sense of inevitability, as if the speaker is resigned to the fact that he cannot escape the city's decline.
In "The Mercy," Levine uses metaphor to convey the sense of community and solidarity among the working-class families. He writes about the "old men" who "shuffle like cards" and the "women" who "sit like birds" on the stoops. These metaphors create a sense of movement and vitality that is a stark contrast to the static and lifeless cityscape.
Conclusion
"Where We Live Now" is a masterpiece of American poetry. Philip Levine's ability to capture the spirit of Detroit and the people who lived there is unparalleled. His use of themes, imagery, and language creates a powerful and moving portrait of a city in decline and the people who struggled to survive in it.
Levine's poems are a testament to the resilience and strength of the working-class families who lived in Detroit during the 20th century. They are also a reminder of the importance of poetry as a medium for capturing the essence of a place and a people. "Where We Live Now" is a must-read for anyone interested in American poetry, the working-class experience, or the history of Detroit.
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