When I wrote I took on the role of the despondent and difficult to understand person. Whereas in life, I was easy to understand, to the point of being simple-minded maybe.
BILLY COLLINSI 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.
More Billy Collins Quotes
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Nationalism is a type of insanity in which the boundaries of a land replace God.
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I thought I would be completely content if I was recognized at some later point in my life as a third-rate Wallace Stevens.
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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.
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I think my poems are slightly underrated by the word accessible.
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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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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.
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Clarity is certainly a way toward disorientation because if you don’t start out – if the reader isn’t grounded, if the reader is disoriented in the beginning of the poem, then the reader can’t be led astray or disoriented later.
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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 was able to read poets that were – allowed me to be humorous without being silly.
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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 poem is not, as someone put it, deflective of entry. But the real question is, ‘What happens to the reader once he or she gets inside the poem?’
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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.
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Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn’t give public readings very often, certainly not – there was no circuit of schools.
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High School is the place where poetry goes to die.
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Some difficulty is warranted and other difficulty I think is gratuitous. And I think I can tell the difference. There are certainly very difficult poets that I really enjoy reading.
BILLY COLLINS