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 COLLINSIt seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine.
More Billy Collins Quotes
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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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It is as if one by one, the memories you used to harbor decided to retire to the Southern Hemisphere of the brain.
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In the process of simplifying oneself, one often discovers the thing called voice.
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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.
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Listeners are kind of ambushed… if a poem just happens to be said when they’re listening to the radio. The listener doesn’t have time to deploy what I call their ‘poetry deflector shields’ that were installed in high school – there’s little time to resist the poem.
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It seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine.
BILLY COLLINS -
I think my poems are slightly underrated by the word accessible.
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You’ll find i-poetry, you’ll find that you can download poetry, that you can stuff your i-pod with recorded poetry. So just to answer the question that way, I think that poetry is gonna catch up with that technology quite soon.
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I see woefully obscure poetry as simply a kind of verbal rudeness.
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I can’t picture myself starting out aiming to do anything or having much of an agenda.I think in writing a poem, I’m making some tonal adjustments, and it took me a long time to allow anything like fun into my poetry.
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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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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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As soon as I start to write I’m very aware, I’m trying to be aware that a reader just might well pick up this poem, a stranger. So when I’m writing – and I think that this is important for all writers – I’m trying to be a writer and a reader back and forth.
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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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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 COLLINS