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 COLLINSAll they want to do is tie the poem to a chair with a rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
More Billy Collins Quotes
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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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I knew that poets seemed to be miserable.
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Particularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting.
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Clarity is certainly a way toward disorientation because if you don’t start out – if the reader isn’t grounded, if the reader is disoriented in the beginning of the poem, then the reader can’t be led astray or disoriented later.
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All they want to do is tie the poem to a chair with a rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
BILLY COLLINS -
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 think my poems are slightly underrated by the word accessible.
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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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I think my work has to do with a sense that we are attempting, all the time, to create a logical, rational path through the day. To the left and right there are an amazing set of distractions that we usually can’t afford to follow. But the poet is willing to stop anywhere.
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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.
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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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When you get a poem [in a public place], it happens to you so suddenly that you don’t have time to deploy your anti-poetry deflector shields that were installed in high school.
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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.
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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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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.
BILLY COLLINS