Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can’t go home again; but that doesn’t mean you’re not free to try.
BILLY COLLINSI always think W.S. Merwin’s poems will last of anyone writing today. If I had to bet on posterity I would bet Merwin.
More Billy Collins Quotes
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Form is any aspect of a poem that encourages it to stay whole and not drift off into chaos.
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I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I’ll read those lines as if I had never seen them before and as if I had never written them.
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The entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.
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I see all of us reading ourselves away from ourselves, straining in circles of light to find more light until the line of words becomes a trail of crumbs that we follow across a page of fresh snow.
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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.
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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.
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The pen is an instrument of discovery rather than just a recording implement. If you write a letter of resignation or something with an agenda, you’re simply using a pen to record what you have thought out.
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I knew that poets seemed to be miserable.
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To write poetry is to be very alone, but you always have the company of your influences. But you also have the company of the form itself, which has a kind of consciousness.
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Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn’t give public readings very often, certainly not – there was no circuit of schools.
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I try to presume that no one is interested in me. And I think experience bears that out. No one’s interested in the experiences of a stranger – let’s put it that way. And then you have difficulty combined with presumptuousness, which is the most dire trouble with poetry.
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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.
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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.
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Poems are not easy to start, and they’re not easy to finish. There’s a great pleasure in – I wouldn’t say ease, but maybe kind of a fascinated ease that accompanies the actual writing of the poem. I find it very difficult to get started.
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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







