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 COLLINSIt’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.
More Billy Collins Quotes
-
-
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.
BILLY COLLINS -
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.
BILLY COLLINS -
The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
BILLY COLLINS -
But some nights, I must tell you, I go down there after everyone has fallen asleep. I swim back and forth in the echoing blackness. I sing a love song as well as I can, lost for a while in the home of the rain.
BILLY COLLINS -
Clarity is certainly a way toward disorientation because if you don’t start out – if the reader isn’t grounded, if the reader is disoriented in the beginning of the poem, then the reader can’t be led astray or disoriented later.
BILLY COLLINS -
High School is the place where poetry goes to die.
BILLY COLLINS -
I think my poems are slightly underrated by the word accessible.
BILLY COLLINS -
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.
BILLY COLLINS -
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.
BILLY COLLINS -
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 -
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 -
Another trouble with poetry – and I’m gonna stop the list at two – is the presence of presumptuousness in poetry.
BILLY COLLINS -
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 -
I thought I would be completely content if I was recognized at some later point in my life as a third-rate Wallace Stevens.
BILLY COLLINS -
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