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 COLLINSIt seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine.
More Billy Collins Quotes
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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 have one of these early memories where I’m in the back of my parents’ car, a place I loved to spend a lot of time as an only child, not having to fight with venomous siblings over the only toy.
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I see woefully obscure poetry as simply a kind of verbal rudeness.
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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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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.
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Bugs Bunny is my muse.
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I thought originally when I was in school and I wanted to be a poet, I knew that poets seemed to be miserable.
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I knew that poets seemed to be miserable.
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Poetry is like standing on the edge of a lake on a moonlit night and the light of the moon is always pointing straight at you.
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Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there’s no visual distraction.
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My poems could easily evaporate. So I don’t know. If you find yourself as a writer thinking about posterity you should probably go out for a brisk walk or something.
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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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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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The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
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So many names, there is barely room on the walls of the heart.
BILLY COLLINS