What Work Is

Fiction | Poem | Adult | Published in 1991

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Background

Poem Analysis

Themes

Symbols & Motifs

Literary Devices

Further Reading & Resources

Related Poems

“The Ball” by John Berryman (1989)

As a teacher and influence on Philip Levine, John Berryman’s importance cannot be understated. This poem from the major figure of Confessionalism showcases the clarity of voice and play of enjambment that also characterize Levine’s “What Work Is.” Despite its themes of desire and money, however, “The Ball” leans more existential than economic, an interesting discrepancy to read in the gap between the poems of teacher and student.

“Blasting from Heaven” by Philip Levine (1968)

While “What Work Is” appears in one of Levine’s final books of poetry, published in 1991, this poem is an example from one of Levine’s earliest books of poetry, Not This Pig (1968). Unlike his later work, Levine’s early poems used rhyme and more traditional structures. While “Blasting from Heaven” demonstrates its similarity to “What Work Is” with its focus on work and the working class, it’s use of end-rhyme and more refined structure showcase the range of Levine’s literary career.

“You Can Have It” by Philip Levine (1991)

This poem is preoccupied with work, with the devastating effects of blue-collar labor, and the impact these things can have on the relationship of two brothers. Also like “What Work Is,” this poem mentions Cadillac factories, night shifts, and the lack of expressed intimacy from the speaker to his hard-worked brother. This poem is a fascinating mirror to “What Work Is,” stuffed full as it is with many of identical themes, characters, and settings. However, its use of quatrains and repeated refrains also show Levine at a more formal mode, even later in his career.

Further Literary Resources

On the Poetry of Philip Levine: Stranger to Nothing edited by Christopher Buckley (1991)

This collection of scholarly essays on Philip Levine’s work bears the distinction of being the first academic book devoted solely to Levine’s poetry. Consequently, it is full of a range of papers from numerous scholars working before Levine had finished his career. This book is a great starting point for a deep dive into the academic analyses of Levine’s literary career.

“The Paris Review’s Philip Levine, The Art of Poetry No. 39” interviewed by Mona Simpson (1988)

This entry into The Paris Review’s long-running and prestigious interview series provides a thorough examination of poetry, poetics, politics, and more by Philip Levine himself. The interviewer guides Levine through a myriad of topics, addressing Levine’s thematic concerns as well as more niche views on the practice of reading poetry. While lengthy and done with a literary audience in mind, this interview maintains its essentially conversational tone.

“The Pope, Poverty, and Poetry: Levine on Moyers & Company” (2013)

At the end of his career and very near the end of his life, Philip Levine appeared on this Public Broadcasting Service’s talk show to discuss poetry and the working class. The website has a video of the episode, including Levine’s interview, as well as a text-only transcript. This is a good resource for hearing how the late poet laureate approached poetry when in a popular, rather than literary, context.

Listen to Poem

Philip Levine reads his poem “What Work Is.”

The Poetry Foundation has made this recording of Levine himself reading his own work publicly available. In the recording, Levine first briefly discusses some of the real-world context that appears in the poem, before launching into a reading of his own text.

Philip Levine performs his poem “What Work Is” alongside jazz music

In 2018, Philip Levine released an album with saxophonist and fellow professor from California State University, Fresno Benjamin Boone called The Poetry of Jazz. On the album, Levine and Boone blend readings of Levine’s poetry with jazz compositions to create hybrid tracks that provocatively support Levine’s texts. This rendition of “What Work Is” is the final track on the album, and is performed live in this recording which starts around the 11:25 minute mark.