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 COLLINSIt’s a good thing to get poetry off the shelves and more into public life.
More Billy Collins Quotes
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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.
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Usually the poems are written in one sitting. There’s always a groping towards some satisfying ending. But I’d say the hardest part is not writing. Once the writing starts, it’s too pleasurable to think of it as a difficulty.
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I can’t picture myself starting out aiming to do anything or having much of an agenda.I think in writing a poem, I’m making some tonal adjustments, and it took me a long time to allow anything like fun into my poetry.
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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.
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The entire novel which suddenly becomes one you have never read, never even heard of, as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones.
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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.
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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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I always think W.S. Merwin’s poems will last of anyone writing today. If I had to bet on posterity I would bet Merwin.
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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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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.
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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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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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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.
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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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I’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.
BILLY COLLINS