It’s time to float on the waters of the night. Time to wrap my arms around this book and press it to my chest, life preserver in a seat of unremarkable men and women anonymous faces on the street, a hundred thousand unalphabitized things a million forgotten hours.
BILLY COLLINSI’m just writing, trying to write in a fairly quiet tone to one other reader who is by herself, or himself, and I’m trying to interrupt some silence in their life, which is utterance.
More Billy Collins Quotes
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While the novelist is banging on his typewriter, the poet is watching a fly in the windowpane.
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Nationalism is a type of insanity in which the boundaries of a land replace God.
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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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So many names, there is barely room on the walls of the heart.
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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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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.
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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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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.
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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 see woefully obscure poetry as simply a kind of verbal rudeness.
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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.
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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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You either continue to write puerile bilge, or you change. In the process of simplifying oneself, one often discovers the thing called voice.
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But tomorrow, dawn will come the way I picture her, barefoot and disheveled, standing outside my window in one of the fragile cotton dresses of the poor. She will look in at me with her thin arms extended, offering a handful of birdsong and a small cup of light.
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I was a pretty happy kid, I had to fake it. I had to get into this miserable character before I wrote poems.
BILLY COLLINS