When I wrote I took on the role of the despondent and difficult to understand person. Whereas in life, I was easy to understand, to the point of being simple-minded maybe.
BILLY COLLINSYou come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.
More Billy Collins Quotes
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Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there’s no visual distraction.
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I was a pretty happy kid, I had to fake it. I had to get into this miserable character before I wrote poems.
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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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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.
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I knew that poets seemed to be miserable.
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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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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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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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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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This love for everyday things, part natural from the wide eye of Infancy, part a literary calculation
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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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The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
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So many names, there is barely room on the walls of the heart.
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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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I was able to read poets that were – allowed me to be humorous without being silly.
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Death is what makes life fun.
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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 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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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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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 see the progress typical in some of my poems as starting with something simple and moving into something more demanding. This is certainly the pattern of weird poetry.
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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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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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Another trouble with poetry – and I’m gonna stop the list at two – is the presence of presumptuousness in poetry.
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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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But I think you could also put it a different way. 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