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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.

Billy Collins

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.
BILLY COLLINS

Anyone Country Established Going Lectern
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.
BILLY COLLINS

Constructed DNA First Keys Signatures Time
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.
BILLY COLLINS

Book Cutting Levels Life Scissors
You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.
BILLY COLLINS

Embellishment Style Voice Writing
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.
BILLY COLLINS

Attention Conscious Poem Progress
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 had a sense, I guess, from just reading a lot of poetry of how a poem would start and how it would end but really I didn’t know what I was doing. It had very little connection to my life.
BILLY COLLINS

Connecting Interesting Poem Poetry Sense
I was able to read poets that were – allowed me to be humorous without being silly.
BILLY COLLINS

Able Humorous Silly
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
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

Believe Cutting Yesterday
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
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 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
But my heart is always propped up in a field on its tripod, ready for the next arrow.
BILLY COLLINS

Arrows Fields Heart
I think my poems are slightly underrated by the word accessible.
BILLY COLLINS

Accessible Poems Thinking Underrated
I thought originally when I was in school and I wanted to be a poet, I knew that poets seemed to be miserable.
BILLY COLLINS

Miserable Poet School

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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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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