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There’s a lot of unconscious activity that goes on I think in the composition of a poem.

Billy Collins

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.
BILLY COLLINS

Differences Everybody Poetry Self
A sentence starts out like a lone traveler heading into a blizzard at midnight, tilting into the wind, one arm shielding his face, the tails of his thin coat flapping behind him.
BILLY COLLINS

Coat Floating Midnight Tails Wind
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.
BILLY COLLINS

Astray Beginning Clarity Disorientated Poem Reader
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

Demanding Goes Littles On Serious
I’m a line-maker. I think that’s what makes poets different from prose-writers. That’s the main way. We think, not just in sentences the way prose writers do but also in lines. So we’re doing these two things at the same time.
BILLY COLLINS

Different Thinking Two
I saw him looking up at her and what she was doing the way the eyes of saints are painted when they are looking up at God when he is doing something remarkable, something that identifies him as God.
BILLY COLLINS

God Looking Remarkable Saint Something
I think the pleasure of form is that you have a companion with you besides all the poetry you have ever read.
BILLY COLLINS

Form Pleasure Read Thinking
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.
BILLY COLLINS

Moving Progress Simple
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.
BILLY COLLINS

Degrees Experimental Insane Kind More Often
I could look at you forever and never see the two of us together
BILLY COLLINS

Forever Together Two
The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion,
BILLY COLLINS

Conclusion Fishing Memories Novel Phones
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

Comprehensible Exposed Real Risk Saying Thinking
I 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.
BILLY COLLINS

Doors Notebook Writing
The 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.
BILLY COLLINS

Agendas Discovery Writing
I see woefully obscure poetry as simply a kind of verbal rudeness.
BILLY COLLINS

Kind Obscure Rudeness
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 COLLINS

Easy Person Roles Simple Understand

There’s a lot of unconscious activity that goes on I think in the composition of a poem.

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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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