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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

While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
BILLY COLLINS

Novelists Poet Typewriters
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.
BILLY COLLINS

Listening Radio School
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.
BILLY COLLINS

Day Every Home Mean Trying
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
I thought originally when I was in school and I wanted to be a poet, I knew that poets seemed to be miserable.
BILLY COLLINS

Miserable Poet School
…balancing the wish to be lost with the need to be found.
BILLY COLLINS

Lost Needs Wish
I think clarity is the real risk in poetry because you are exposed. You’re out in the open field. You’re actually saying things that are comprehensible, and it’s easy to criticize something you can understand.
BILLY COLLINS

Clarity Comprehensive Exposed Real Risk Thinking
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
In the process of simplifying oneself, one often discovers the thing called voice.
BILLY COLLINS

Oneself Process Voice
The 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.
BILLY COLLINS

Gaps Ignored Poet Themselves World
Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there’s no visual distraction.
BILLY COLLINS

Distraction Perfect Primarily Radio Voice
The sense you get in a poem that the poet takes for granted an interest on the reader’s part in the poet’s autobiographical life, in the poet’s memories, problems, difficulties and even minor perceptions.
BILLY COLLINS

Autobiographical Difficulties Problem Reader
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.
BILLY COLLINS

Departure Funny Mean Things
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

Consciousness Lines Mean Writing
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.
BILLY COLLINS

Combined Experience Poetry Stranger
Vade Mecum I want the scissors to be sharp and the table perfectly level when you cut me out of my life and paste me in that book you always carry.
BILLY COLLINS

Book Cutting Levels Life Scissors

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.

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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.

Related Topics

Popular Authors

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