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.
BILLY COLLINSBut 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.
More Billy Collins Quotes
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A motto I’ve adopted is, if at first you don’t succeed, hide all evidence that you ever tried.
BILLY COLLINS -
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.
BILLY COLLINS -
I think more influential than Emily Dickinson or Coleridge or Wordsworth on my imagination were Warner Brothers, Merrie Melodies and Looney Tunes cartoons.
BILLY COLLINS -
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 -
It is as if one by one, the memories you used to harbor decided to retire to the Southern Hemisphere of the brain.
BILLY COLLINS -
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.
BILLY COLLINS -
I hope the poem, as it goes on, gets more complicated, a little more demanding, a little more ambiguous or speculative, so that we’re drifting away from the casual beginning of the poem into something a little more serious.
BILLY COLLINS -
One of the ridiculous aspects of being a poet is the huge gulf between how seriously we take ourselves and how generally we are ignored by everybody else.
BILLY COLLINS -
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.
BILLY COLLINS -
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.
BILLY COLLINS -
I’m very conscious of the fact that every line should have a cadence to it. It should contribute to the progress of the poem. And that the ending of the line is a way of turning the reader’s attention back into the interior of the poem.
BILLY COLLINS -
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 COLLINS -
Humor, for me, is really a gate of departure. Its a way of enticing a reader into a poem so that less funny things can take place later. It really is not an end in itself, but a means to an end.
BILLY COLLINS -
And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack.
BILLY COLLINS -
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.
BILLY COLLINS