Humor is just an ingredient. It’s always been in poetry. It kind of dropped out of poetry I think during the 19th and up to the mid-twentieth century. But it’s found its way back. And it’s simply an ingredient.
BILLY COLLINSOne 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.
More Billy Collins Quotes
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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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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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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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To write poetry is to be very alone, but you always have the company of your influences. But you also have the company of the form itself, which has a kind of consciousness.
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But my heart is always propped up in a field on its tripod, ready for the next arrow.
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I’m very conscious of the fact that every line should have a cadence to it. It should contribute to the progress of the poem. And that the ending of the line is a way of turning the reader’s attention back into the interior of the poem.
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That’s the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
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I was an only child, a very late child, born to parents who were both 39 at the time, which was very late back then. That kind of confirmed my sense of being the center of the universe, which I guess every child feels – children and poets both tend to feel.
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A return to his native Nigeria plunges Cole’s charming narrator into a tempest of chaos, contradiction, and kinship in a place both endearingly familiar and unnervingly strange. The result is a tale that engages and disturbs.
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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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The mind can be trained to relieve itself on paper.
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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.
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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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I could look at you forever and never see the two of us together
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It seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine.
BILLY COLLINS