I mean, the sonnet will simply tell you, that’s too many syllables or that’s too many lines or that’s the wrong place. So, instead of being alone, you’re in dialogue with the form.
BILLY COLLINSMore 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.
More Billy Collins Quotes
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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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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.
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High School is the place where poetry goes to die.
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I try to presume that no one is interested in me. And I think experience bears that out. No one’s interested in the experiences of a stranger – let’s put it that way. And then you have difficulty combined with presumptuousness, which is the most dire trouble with poetry.
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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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Every Day Is for the Thief is a vivid, episodic evocation of the truism that you can’t go home again; but that doesn’t mean you’re not free to try.
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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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It seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine.
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The great thing about the game of poetry is that it’s always your turn – I guess that goes back to my being an only child. So once it’s under way, there is a sense of flow.
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And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack.
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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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A motto I’ve adopted is, if at first you don’t succeed, hide all evidence that you ever tried.
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I see all of us reading ourselves away from ourselves, straining in circles of light to find more light until the line of words becomes a trail of crumbs that we follow across a page of fresh snow.
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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 stared up at the ebbing quarter moon and the stars scattered like a handful of salt across the faraway sky.
BILLY COLLINS








