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While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.

Billy Collins

It’s a good thing to get poetry off the shelves and more into public life.
BILLY COLLINS

Good Life Public Shelves Things
I’m very conscious of the fact that every line should have a cadence to it. It should contribute to the progress of the poem. And that the ending of the line is a way of turning the reader’s attention back into the interior of the poem.
BILLY COLLINS

Attention Conscious Poem Progress
While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
BILLY COLLINS

Novelists Poet Typewriters
I knew that poets seemed to be miserable.
BILLY COLLINS

Miserable Poet Seemed
I find it strange that – at least in my take on it – the people who are the most alarmed about the dire times we live in are the ones who seem to be humorless, in their taste for poetry anyway.
BILLY COLLINS

Alarmed Humorless People Thinking Way
Bugs Bunny is my muse.
BILLY COLLINS

Bugs Bunnies Creativity
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.
BILLY COLLINS

Combined Experience Poetry Stranger
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

Constructed DNA First Keys Signatures Time
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.
BILLY COLLINS

Decided Heard Hemisphere Memories Southern Suddenly
A sentence starts out like a lone traveler heading into a blizzard at midnight, tilting into the wind, one arm shielding his face, the tails of his thin coat flapping behind him.
BILLY COLLINS

Coat Floating Midnight Tails Wind
You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.
BILLY COLLINS

Embellishment Style Voice Writing
I had a sense, I guess, from just reading a lot of poetry of how a poem would start and how it would end but really I didn’t know what I was doing. It had very little connection to my life.
BILLY COLLINS

Connecting Interesting Poem Poetry Sense
The mind can be trained to relieve itself on paper.
BILLY COLLINS

Mind Paper Relieve Trained
There are just long gaps where I can’t find a point of insertion, I can’t find a good opening line.
BILLY COLLINS

Air Fall Insertion Open Time Writing
No one here likes a wet dog.
BILLY COLLINS

Dogs Likes Wet
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.
BILLY COLLINS

Comprehensible Exposed Real Risk Saying Thinking
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.
BILLY COLLINS

Doors Notebook Writing
…balancing the wish to be lost with the need to be found.
BILLY COLLINS

Lost Needs Wish
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

Demanding Goes Littles On Serious
Death is what makes life fun.
BILLY COLLINS

Death Fun Life
In the process of simplifying oneself, one often discovers the thing called voice.
BILLY COLLINS

Oneself Process Voice
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.
BILLY COLLINS

Autobiographical Difficulties Problem Reader
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 COLLINS

Easy Person Roles Simple Understand
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

Falling Love Podium Silence Writing
The great thing about the game of poetry is that it’s always your turn – I guess that goes back to my being an only child. So once it’s under way, there is a sense of flow.
BILLY COLLINS

Child Game Great Poetry Thing Under Way
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.
BILLY COLLINS

Fun Thinking Writing
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 COLLINS

Anymore Facts Jobs Serious

While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.

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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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