A Quote by Billy Collins
When you put a book together and arrange it, there's a lot of anxiety and turmoil about what order the poems should be in.
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I have been writing. Even when I intend not to write, I find myself writing. I'm currently in a place where I should be putting together the fifth book, but then more poems are coming. It's exciting and somewhat daunting. You know how we are when a new book of poems is at last coming together - all frenzy, distraction, and bounty? It's as if I've turned into summer itself.
It's really, really eclectic. It's not a business book [Girlboss], but it's still a book that should make you want to get up and do things and think about your life. And for a book that looks that beautiful on a coffee table, I think that's a very special thing. So it's hopefully a new genre I guess, of book. It was so fun to put together and fun to write, that was really a pleasure.
The UN should arrange, as US forces leave, for an international group of peacekeepers and negotiators from the Arab countries to bring together Shiites, Sunnis and Kurds, and work out a solution for self-governance that would give all three groups a share in political power. Simultaneously, the UN should arrange for shipments of food and medicine, from the United States and other countries, as well as engineers to help rebuild the country.
If you can find two poems in a book, it could be a pretty good book for you. You know, two poems you really like. There are some poets who are fairly big names in contemporary poetry and who write a book and I might like three or four poems in the book, but the rest of them don't appeal to me personally; but I think that's the way it really ought to be. I think it's really a rare thing to like everything that somebody has written.
My first book of poems was published privately in 1949. That was my mother. The book was '25 Poems.' It cost 200 dollars.
So no, I’m not too big on religion...and not very fond of politics or economics either...And why should I be? They are the man-created trinity of terrors that ravages the earth and deceives those I care about. What mental turmoil and anxiety does any human face that is not related to one of those three?
When Emily Dickinson's poems were published in the 1890s, they were a best-seller; the first book of her poems went through eleven editions of a print run of about 400. So the first print run out of Boston for a first book of poems was 400 for a country that had fifty million people in it. Now a first print run for a first book is maybe 2,000? So that's a five-time increase in the expectation of readership. Probably the audience is almost exactly the same size as it was in 1900, if you just took that one example.
I started out writing poems before I figured to put melodies to them and play the guitar. Somewhere, there's a book out there on all those early songs and poems. I hope no one ever finds it. I don't think it's my finest work.
My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
I like to joke that I started writing long poems out the anxiety over ending and starting poems. It just seemed easier to keep going.
I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.
Architecture can't fully represent the chaos and turmoil that are part of the human personality, but you need to put some of that turmoil into the architecture, or it isn't real.
I have never had any problems with editors who wanted me to change my methods or point of view. I pay a lot of attention to editors, but in a different way. They sometimes catch mistakes and help with the order of poems in a book. I do not underestimate them! Indeed, I have been one myself.
You need contrast and conflict in order to tell a story. Stories need to have dark and light, turmoil, all those things. But that does not mean the filmmaker has to suffer in order to show the suffering. Stories should have the suffering, not the people.
I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.
When I was young, my knowledge of the literary world was a distorted tabloid sketch of dazzling fame, suffering genius, and tragic glamour. It was all very naïve. Of course, the only part of the stereotype that has proven true is the suffering and the starving. Now, my fantasy of scribbling poems in a tower is gone, but an anxiety about reviews, book sales, and awards has taken its place.
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