The great thing about the game of poetry is that it’s always your turn – I guess that goes back to my being an only child. So once it’s under way, there is a sense of flow.
BILLY COLLINSI 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.
More Billy Collins Quotes
-
-
When you get a poem [in a public place], it happens to you so suddenly that you don’t have time to deploy your anti-poetry deflector shields that were installed in high school.
BILLY COLLINS -
When I began to dare to be clear, because 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 -
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 -
I felt at some point that I had nothing to lose, and [laughs] maybe I was wrong. I think, you know, there’s always these little autobiographical secrets behind things. I think I was really attacking my earlier self, and this kind of pretentious figure.
BILLY COLLINS -
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.
BILLY COLLINS -
I write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I’ll read those lines as if I had never seen them before and as if I had never written them.
BILLY COLLINS -
I had a sense, I guess, from just reading a lot of poetry of how a poem would start and how it would end but really I didn’t know what I was doing. It had very little connection to my life.
BILLY COLLINS -
Form is any aspect of a poem that encourages it to stay whole and not drift off into chaos.
BILLY COLLINS -
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.
BILLY COLLINS -
Bugs Bunny is my muse.
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 -
I could look at you forever and never see the two of us together
BILLY COLLINS -
I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we’re drifting away from the casual beginning of the poem into something a little more serious.
BILLY COLLINS -
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.
BILLY COLLINS -
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