The really authentic thing about humor is that anyone can pretend to be serious. Anyone who’s ever had a job – in fact, we’re pretending to be serious now, more or less.
BILLY COLLINSIt is as if one by one, the memories you used to harbor decided to retire to the Southern Hemisphere of the brain.
More Billy Collins Quotes
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A return to his native Nigeria plunges Cole’s charming narrator into a tempest of chaos, contradiction, and kinship in a place both endearingly familiar and unnervingly strange. The result is a tale that engages and disturbs.
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I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies and Looney Tunes cartoons.
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It is as if one by one, the memories you used to harbor decided to retire to the Southern Hemisphere of the brain.
BILLY COLLINS -
I mean, the sonnet will simply tell you, that’s too many syllables or that’s too many lines or that’s the wrong place. So, instead of being alone, you’re in dialogue with the form.
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But tomorrow, dawn will come the way I picture her, barefoot and disheveled, standing outside my window in one of the fragile cotton dresses of the poor. She will look in at me with her thin arms extended, offering a handful of birdsong and a small cup of light.
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I have one of these early memories where I’m in the back of my parents’ car, a place I loved to spend a lot of time as an only child, not having to fight with venomous siblings over the only toy.
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Some difficulty is warranted and other difficulty I think is gratuitous. And I think I can tell the difference. There are certainly very difficult poets that I really enjoy reading.
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Introduction To Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem’s room and feel the walls for a light switch.
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I think the pleasure of form is that you have a companion with you besides all the poetry you have ever read.
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All they want to do is tie the poem to a chair with a rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
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I could look at you forever and never see the two of us together
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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.
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I’m just writing, trying to write in a fairly quiet tone to one other reader who is by herself, or himself, and I’m trying to interrupt some silence in their life, which is utterance.
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More often than not in poetry I find difficulty to be gratuitous and show-offy and camouflaging, experimental to a kind of insane degree – a difficulty which really ignores the possibility of having a sensible reader.
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Poetry is like standing on the edge of a lake on a moonlit night and the light of the moon is always pointing straight at you.
BILLY COLLINS