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 COLLINSThe name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
More Billy Collins Quotes
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A motto I’ve adopted is, if at first you don’t succeed, hide all evidence that you ever tried.
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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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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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So many names, there is barely room on the walls of the heart.
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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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(Again I’m trying to give you a finite version of this career.) And then I came under the sway of Wallace Stevens when I was in college and graduate school, and basically set as a life goal the ambition of writing third-rate Wallace Stevens.
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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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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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The literary world is so full of pretension, and there’s such an enormous gap between how seriously poets take themselves and how widely they’re ignored by everybody else.
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I could look at you forever and never see the two of us together
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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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The entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.
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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 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’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.
BILLY COLLINS