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.
BILLY COLLINSThe 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.
More Billy Collins Quotes
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Poems are not easy to start, and they’re not easy to finish. There’s a great pleasure in – I wouldn’t say ease, but maybe kind of a fascinated ease that accompanies the actual writing of the poem. I find it very difficult to get started.
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One of the ridiculous aspects of being a poet is the huge gulf between how seriously we take ourselves and how generally we are ignored by everybody else.
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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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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.
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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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It’s a good thing to get poetry off the shelves and more into public life.
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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.
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All they want to do is tie the poem to a chair with a rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
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I could look at you forever and never see the two of us together
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I could feel the day offering itself to me, and I wanted nothing more than to be in the moment-but which moment? Not that one, or that one, or that one.
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I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies and Looney Tunes cartoons.
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(Again I’m trying to give you a finite version of this career.) And then I came under the sway of Wallace Stevens when I was in college and graduate school, and basically set as a life goal the ambition of writing third-rate Wallace Stevens.
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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.
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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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As 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.
BILLY COLLINS