A Quote by Billy Collins
There are interesting forms of difficulty, and there are unprofitable forms of difficulty. I mean, I enjoy some difficult poetry, but some of it is impenetrable and I actually wouldn't want to penetrate it if I could, perhaps.
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Some difficulty is warranted and other difficulty I think is gratuitous. And I think I can tell the difference. There are certainly very difficult poets that I really enjoy reading.
Poetry is difficult, I mean interesting poetry, not confessional babble or emotive propaganda. Reading a new poet is discovering an entire world, what Stevens called a 'mundo' and it takes a lot of time to orientate oneself in such a world. What we have to learn to do then, as teachers and militants of a poetic insurgency, is to encourage people to learn to love the difficulty of poetry. I simply do not understand much of the poetry that I love.
Basically the problem is that if the intellect is looking at or beholding the forms, what it will get is some kind of representation or image of the forms, but it won't actually have the forms, it won't touch them as it were, or it won't incorporate them.
But the gravest difficulty, and perhaps the most important, in poetry meant solely for recitation, is the difficulty of achieving verbal beauty, or rather of making verbal beauty tell.
What could be heavier and more impenetrable than a rock, the densest of all forms? And yet some rocks undergo a change in their molecular structure, turn into crystals, and so become transparent to the light.
Surmounting difficulty is the crucible that forms character.
Modernism in other arts brought extreme difficulty. In poetry, the characteristic difficulty imported under the name of modernism was obscurity. But obscurity could just as easily be a quality of metrical as of free verse.
Poetry can explain individuals to ourselves, and change our attitudes, and help us see the complexity of the world, but the kind of poetry I follow isn't going to change public opinion directly. Other art forms can - if you're a TV writer, you have some interesting challenges, or if you're a country musician, somebody like Brad Paisley. But poetry not so much.
Why is it that we remember with difficulty and without difficulty forget? Learn with difficulty and without difficulty remain ignorant?
Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper had died that I saw an exhibition of his, a catalogue from an exhibition, and he was showing some forms which were made by cutting and joining a lot of different parts together to create what he called a spade form, which you can imagine looks a little bit like a shovel upside down.
At school, I was never given a sense that poetry was something flowery or light. It's a complex and controlled way of using language. Rhythms and the music of it are very important. But the difficulty is that poetry makes some kind of claim of honesty.
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.
I do not mean to say that such institutions act unilaterally on psychic life, or that they determine certain psychic outcomes. Rather, they exploit forms of fear and insecurity that are there for any population - no political organisation of life could ever fully do away with fear and insecurity; but some work to intensify, accelerate, and make more acute forms of fear, and to provide ideological focus for such intensified fears, at which point critical thinking has a fierce rival. The critical analysis that shows precisely how those forms of fear are promulgated, and for what purpose.
A force field is basically an invisible shield. You push a button and all of a sudden a bubble forms around you which is impenetrable. It can stop bullets, it can stop ray gun blasts and we realized force fields are actually a little bit difficult to create.
Some forms of truth are really forms of social power and oppression.
There are three kinds of forms in the human figure: Ovoid forms - egg, ball and barrel masses; Column forms - cylinder, cone; Spatulate forms - box, slab and wedge blocks.
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