It is as if one by one, the memories you used to harbor decided to retire to the Southern Hemisphere of the brain.
BILLY COLLINSThe 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.
More Billy Collins Quotes
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Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can’t go home again; but that doesn’t mean you’re not free to try.
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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.
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High School is the place where poetry goes to die.
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I mean, the sonnet will simply tell you, that’s too many syllables or that’s too many lines or that’s the wrong place. So, instead of being alone, you’re in dialogue with the form.
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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.
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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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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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Humor, for me, is really a gate of departure. Its a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.
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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 think my work has to do with a sense that we are attempting, all the time, to create a logical, rational path through the day. To the left and right there are an amazing set of distractions that we usually can’t afford to follow. But the poet is willing to stop anywhere.
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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’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.
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I see the progress typical in some of my poems as starting with something simple and moving into something more demanding. This is certainly the pattern of weird poetry.
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You’ll find i-poetry, you’ll find that you can download poetry, that you can stuff your i-pod with recorded poetry. So just to answer the question that way, I think that poetry is gonna catch up with that technology quite soon.
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There’s a lot of unconscious activity that goes on I think in the composition of a poem.
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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 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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But tomorrow, dawn will come the way I picture her, barefoot and disheveled, standing outside my window in one of the fragile cotton dresses of the poor. She will look in at me with her thin arms extended, offering a handful of birdsong and a small cup of light.
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Death is what makes life fun.
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You either continue to write puerile bilge, or you change. In the process of simplifying oneself, one often discovers the thing called voice.
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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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Listeners are kind of ambushed… if a poem just happens to be said when they’re listening to the radio. The listener doesn’t have time to deploy what I call their ‘poetry deflector shields’ that were installed in high school – there’s little time to resist the poem.
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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.
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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 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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I could look at you forever and never see the two of us together
BILLY COLLINS