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.
BILLY COLLINSUsually the poems are written in one sitting. There’s always a groping towards some satisfying ending. But I’d say the hardest part is not writing. Once the writing starts, it’s too pleasurable to think of it as a difficulty.
More Billy Collins Quotes
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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.
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Death is what makes life fun.
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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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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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While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
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I felt at some point that I had nothing to lose, and [laughs] maybe I was wrong. I think, you know, there’s always these little autobiographical secrets behind things. I think I was really attacking my earlier self, and this kind of pretentious figure.
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It’s time to float on the waters of the night. Time to wrap my arms around this book and press it to my chest, life preserver in a seat of unremarkable men and women anonymous faces on the street, a hundred thousand unalphabitized things a million forgotten hours.
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My poems could easily evaporate. So I don’t know. If you find yourself as a writer thinking about posterity you should probably go out for a brisk walk or something.
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This love for everyday things, part natural from the wide eye of Infancy, part a literary calculation
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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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The sense you get in a poem that the poet takes for granted an interest on the reader’s part in the poet’s autobiographical life, in the poet’s memories, problems, difficulties and even minor perceptions.
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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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You either continue to write puerile bilge, or you change. In the process of simplifying oneself, one often discovers the thing called voice.
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I stared up at the ebbing quarter moon and the stars scattered like a handful of salt across the faraway sky.
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The first line is the DNA of the poem; the rest of the poem is constructed out of that first line. A lot of it has to do with tone because tone is the key signature for the poem. The basis of trust for a reader used to be meter and end-rhyme.
BILLY COLLINS