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 COLLINSThe 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?’
More Billy Collins Quotes
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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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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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Usually 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.
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It’s a good thing to get poetry off the shelves and more into public life.
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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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The mind can be trained to relieve itself on paper.
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Poetry is like standing on the edge of a lake on a moonlit night and the light of the moon is always pointing straight at you.
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High School is the place where poetry goes to die.
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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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(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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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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So many names, there is barely room on the walls of the heart.
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You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.
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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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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