The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
BILLY COLLINSAs soon as I start to write I’m very aware, I’m trying to be aware that a reader just might well pick up this poem, a stranger. So when I’m writing – and I think that this is important for all writers – I’m trying to be a writer and a reader back and forth.
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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Usually the poems are written in one sitting. There’s always a groping towards some satisfying ending. But I’d say the hardest part is not writing. Once the writing starts, it’s too pleasurable to think of it as a difficulty.
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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.
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And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack.
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Now I would say at any given moment in American life, there are probably 45 poets in airplanes vectoring across the country heading towards…
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In the process of simplifying oneself, one often discovers the thing called voice.
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You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
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I don’t know if anyone’s reading it, but poets are still flying around the country going from lectern to lectern.That circuitry has become very well-established.
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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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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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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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More often than not in poetry I find difficulty to be gratuitous and show-offy and camouflaging, experimental to a kind of insane degree – a difficulty which really ignores the possibility of having a sensible reader.
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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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While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
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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