I’m speaking to someone I’m trying to get to fall in love with me. I’m trying to speak intimately to one person. That should be clear. I’m not speaking to an audience. I’m not writing for the podium.
BILLY COLLINSVade 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.
More Billy Collins Quotes
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…balancing the wish to be lost with the need to be found.
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There’s a lot of unconscious activity that goes on I think in the composition of a poem.
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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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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.
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The really authentic thing about humor is that anyone can pretend to be serious. Anyone who’s ever had a job – in fact, we’re pretending to be serious now, more or less.
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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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The literary world is so full of pretension, and there’s such an enormous gap between how seriously poets take themselves and how widely they’re ignored by everybody else.
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Introduction To Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem’s room and feel the walls for a light switch.
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I want them to waterski across the surface of a poem waving at the author’s name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
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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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My poems could easily evaporate. So I don’t know. If you find yourself as a writer thinking about posterity you should probably go out for a brisk walk or something.
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This love for everyday things, part natural from the wide eye of Infancy, part a literary calculation
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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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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 write two lines or three lines. I will immediately stop and turn into a reader instead of a writer, and I’ll read those lines as if I had never seen them before and as if I had never written them.
BILLY COLLINS