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Billy Collins Quotes - IQDb - Internet Quotes Database

Quotes from Billy Collins


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Discovering Samuel Beckett in college was a big deal for me. I realized you could be very funny and very dark at the same time.


When you put a poem on a Kindle, the lines are broken in order to fit on the screen. And so instead of being the poet's decision, it becomes the device's decision.


Humor, for me, is really a gate of departure. It's 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.


I think my poems are slightly underrated by the word 'accessible.'


I'm a great believer in poetry out of the classroom, in public places, on subways, trains, on cocktail napkins. I'd rather have my poems on the subway than around the seminar table at an MFA program.


I think if a poet wanted to lead, he or she would want the message to be unequivocally clear and free of ambiguity. Whereas poetry is actually the home of ambiguity, ambivalence and uncertainty.


Emily Dickinson never developed. She remained loyal to her persona and to that same little metrical song that stood her in such good stead. She is a striking example of complexity within a simple package. Her rhymes are like bows on the package.


There's something very authentic about humor, when you think about it. Anybody can pretend to be serious. But you can't pretend to be funny.


Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there's no visual distraction.


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?' 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.


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.


I don't write for an auditorium full of people. I don't write for the microphone; I write for the page.


I don't think anybody reads a book of poetry front to back. Editors and reviewers only. I don't think anybody else does.


The obituaries shot up to the top of my list when I discovered Robert McG. Thomas, the 'Times' obit writer who redesigned its traditional form and added a measure of stylistic elegance.


Besides the aesthetics, besides teaching an appreciation of T.S. Eliot, a basic need is fulfilled when you teach English at CUNY.


Poetry is my cheap means of transportation. By the end of the poem the reader should be in a different place from where he started. I would like him to be slightly disoriented at the end, like I drove him outside of town at night and dropped him off in a cornfield.


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.


I'm trying to write poems that involve beginning at a known place, and ending up at a slightly different place. I'm trying to take a little journey from one place to another, and it's usually from a realistic place, to a place in the imagination.


Cummings' career as a writer - and a painter - was as wobbly as his love life. He tried his hand at playwriting, satirical essays, and even a dance scenario for Lincoln Kirsten.


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.