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 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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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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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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Robert Frost really started this whole thing rolling. He was, I believe, the first poet who started going to colleges. Before that, poets didn’t give public readings very often, certainly not – there was no circuit of schools.
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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 sense you get in a poem that the poet takes for granted an interest on the reader’s part in the poet’s autobiographical life, in the poet’s memories, problems, difficulties and even minor perceptions.
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That’s the real question for me, is getting the reader into the poem and then taking the reader somewhere, because I think of poetry as a kind of form of travel writing.
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I find it strange that – at least in my take on it – the people who are the most alarmed about the dire times we live in are the ones who seem to be humorless, in their taste for poetry anyway.
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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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Death is what makes life fun.
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Nationalism is a type of insanity in which the boundaries of a land replace God.
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More 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.
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When I wrote I took on the role of the despondent and difficult to understand person. Whereas in life, I was easy to understand, to the point of being simple-minded maybe.
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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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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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You come by your style by learning what to leave out. At first you tend to overwrite—embellishment instead of insight.
BILLY COLLINS