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The poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’

Billy Collins

So many names, there is barely room on the walls of the heart.
BILLY COLLINS

Heart Names Wall
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.
BILLY COLLINS

Circles Light Reading
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
I see woefully obscure poetry as simply a kind of verbal rudeness.
BILLY COLLINS

Kind Obscure Rudeness
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.
BILLY COLLINS

Differences Everybody Poetry Self
But my heart is always propped up in a field on its tripod, ready for the next arrow.
BILLY COLLINS

Arrows Fields Heart
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 COLLINS

Arms Book Men Night Preserve Press
I’m a line-maker. I think that’s what makes poets different from prose-writers. That’s the main way. We think, not just in sentences the way prose writers do but also in lines. So we’re doing these two things at the same time.
BILLY COLLINS

Different Thinking Two
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.
BILLY COLLINS

ContrAction Familiar Kinship Result Tempest
I stared up at the ebbing quarter moon and the stars scattered like a handful of salt across the faraway sky.
BILLY COLLINS

Across Faraway Moon Sky Stars
That’s the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
BILLY COLLINS

Poem Reader Talking Travel Writing
The poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’
BILLY COLLINS

Poem Real Thinking Writing
Particularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting.
BILLY COLLINS

Clever Reading Talking
The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
BILLY COLLINS

Conclusion Fishing Memories Novel Phones
The mind can be trained to relieve itself on paper.
BILLY COLLINS

Mind Paper Relieve Trained
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 poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’

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The poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’

Related Topics

Popular Authors

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