A Quote by Billy Collins

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'm pretty much all for poetry in public places - poetry on buses, poetry on subways, on billboards, on cereal boxes.
I studied poetry in college and for a year in an MFA program. As time went on, my poems got more and more complicated. What I was really trying to do was tell stories.
I did go to an MFA program, at Bowling Green State University in Ohio. For me, it worked perfectly. It was a small program. They only take five fiction writers a year, and they fund all of us - you don't go into debt to get an MFA. It's not like getting an MBA - you're not going to buy yourself out.
New York City subways are now getting high speed Internet. How about some high speed subway trains?
During the morning rush hour on March 20, 1995, the Japanese cult Aum Shinrikyo placed packages on five subway trains converging on Tokyo's central station. When punctured, the packages spread vaporized Sarin through the subway cars and then into the stations as the trains pulled in.
I think that the dark side of MFA programs is that they're generating more poets than the culture can absorb and there are more people writing poetry than possibly read it or can certainly earn a living around it.
When I was modeling in Japan, I could blend in a little because of my hair, but my roommates with blonde hair got harassed. People would touch their hair and grope them in the subway. Actually, a lot of groping happens in the subway in Japan, but that's probably true of subways everywhere.
The adult fiction and writing for children portions of my MFA program were kept very separate, and there was a stigma around those 'kid people.'
I was raised by a single mother who made a way for me. She used to scrub floors as a domestic worker, put a cleaning rag in her pocketbook and ride the subways in Brooklyn so I would have food on the table. But she taught me as I walked her to the subway that life is about not where you start, but where you're going. That's family values.
I think in terms of educating a group of readers, MFA programs are very good. I just think the model of MFA programs in which a young poet goes through the program, publishes a series of books, gets teaching jobs, that's a bit at risk.
I would be happier if people who went through MFA programs also were already, by then, deeply committed readers of poetry because we need readers of poetry as much as writers of poetry.
For holidays, I like doing special cheery touches around the table, like color-coordinating the plates and napkins to fit the theme.
[In mountaineering, if] we look for private experience rather than public history, even getting to the top becomes an optional narrative rather than the main point, and those who only wander in high places become part of the story.
I wrote Baghdad Central right after translating a great work by Ibrahim al-Koni, who is sort of a master of Arab fiction. In conversations with him I realized that translations have been my MFA program. If I have learned how to write fiction it's by working with great writers and getting them to explain their craft to me so that I can do it in English. That's how I've figured it out.
Our increasingly electrified, electronic, and data-driven society places steadily rising demand on reliable baseload power - that is, on electricity available 24/7/365. Servers never sleep, nor does air conditioning during hot nights, and in Asia's megacities, subways and electric trains take only brief naps between midnight and 5 A.M.
I'm a big believer you should design work around a vast majority of people who want to do the right thing rather than around the tiny minority who might take advantage.
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