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 COLLINSA motto I’ve adopted is, if at first you don’t succeed, hide all evidence that you ever tried.
More Billy Collins Quotes
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I see woefully obscure poetry as simply a kind of verbal rudeness.
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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?’
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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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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 was an only child, a very late child, born to parents who were both 39 at the time, which was very late back then. That kind of confirmed my sense of being the center of the universe, which I guess every child feels – children and poets both tend to feel.
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Humor is just an ingredient. It’s always been in poetry. It kind of dropped out of poetry I think during the 19th and up to the mid-twentieth century. But it’s found its way back. And it’s simply an ingredient.
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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’m just writing, trying to write in a fairly quiet tone to one other reader who is by herself, or himself, and I’m trying to interrupt some silence in their life, which is utterance.
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I want them to waterski across the surface of a poem waving at the author’s name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
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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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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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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 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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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.
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While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
BILLY COLLINS