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You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.

Billy Collins

Vade Mecum I want the scissors to be sharp and the table perfectly level when you cut me out of my life and paste me in that book you always carry.
BILLY COLLINS

Book Cutting Levels Life Scissors
Particularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting.
BILLY COLLINS

Clever Reading Talking
Form is any aspect of a poem that encourages it to stay whole and not drift off into chaos.
BILLY COLLINS

Aspect Chaos Form
But I think you could also put it a different way. You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
BILLY COLLINS

Different Obviously Probably Unquote Way
I want them to waterski across the surface of a poem waving at the author’s name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
BILLY COLLINS

Across Ant Confession Poem Shore Waving
I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we’re drifting away from the casual beginning of the poem into something a little more serious.
BILLY COLLINS

Demanding Goes Littles On Serious
I can hear the library humming in the night, a choir of authors murmuring inside their books along the unlit, alphabetical shelves, Giovanni Pontano next to Pope, Dumas next to his son, each one stitched into his own private coat, together forming a low, gigantic chord of language.
BILLY COLLINS

Alphabetical Book Country Night People Shelves Son
So many names, there is barely room on the walls of the heart.
BILLY COLLINS

Heart Names Wall
I see woefully obscure poetry as simply a kind of verbal rudeness.
BILLY COLLINS

Kind Obscure Rudeness
I think the pleasure of form is that you have a companion with you besides all the poetry you have ever read.
BILLY COLLINS

Form Pleasure Read Thinking
There are just long gaps where I can’t find a point of insertion, I can’t find a good opening line.
BILLY COLLINS

Air Fall Insertion Open Time Writing
I think my work has to do with a sense that we are attempting, all the time, to create a logical, rational path through the day. To the left and right there are an amazing set of distractions that we usually can’t afford to follow. But the poet is willing to stop anywhere.
BILLY COLLINS

Distraction Left Path Right Thinking
But some nights, I must tell you, I go down there after everyone has fallen asleep. I swim back and forth in the echoing blackness. I sing a love song as well as I can, lost for a while in the home of the rain.
BILLY COLLINS

Echoing Everyone Home Rain Song Tell
Clarity is certainly a way toward disorientation because if you don’t start out – if the reader isn’t grounded, if the reader is disoriented in the beginning of the poem, then the reader can’t be led astray or disoriented later.
BILLY COLLINS

Astray Beginning Clarity Disorientated Poem Reader
When you get a poem [in a public place], it happens to you so suddenly that you don’t have time to deploy your anti-poetry deflector shields that were installed in high school.
BILLY COLLINS

Inspiration Motivation School
When I began to dare to be clear, because I think clarity is the real risk in poetry because you are exposed. You’re out in the open field. You’re actually saying things that are comprehensible, and it’s easy to criticize something you can understand.
BILLY COLLINS

Comprehensible Exposed Real Risk Saying Thinking

You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.

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You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.

Related Topics

Popular Authors

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