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.
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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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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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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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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While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
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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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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.
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Humor is just an ingredient. It’s always been in poetry. It kind of dropped out of poetry I think during the 19th and up to the mid-twentieth century. But it’s found its way back. And it’s simply an ingredient.
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One of the ridiculous aspects of being a poet is the huge gulf between how seriously we take ourselves and how generally we are ignored by everybody else.
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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.
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I always think W.S. Merwin’s poems will last of anyone writing today. If I had to bet on posterity I would bet Merwin.
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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.
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So many names, there is barely room on the walls of the heart.
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I write with a Uni-Ball Onyx Micropoint on nine-by-seven bound notebooks made by a Canadian company called Blueline. After I do a few drafts, I type up the poem on a Macintosh G3 and then send it out the door.
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I’m speaking to someone I’m trying to get to fall in love with me. I’m trying to speak intimately to one person. That should be clear. I’m not speaking to an audience. I’m not writing for the podium.
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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