A Quote by Billy Collins

In the long revolt against inherited forms that has by now become the narrative of 20th-century poetry in English, no poet was more flamboyant or more recognizable in his iconoclasm than Cummings.
If you look back on the history of the 20th century, the 19th century or even to the ancien régime of the 18th, you will see that first people rebelled against the order of the things because of lack of liberty, and demanded more freedom. And when they got more freedom, they got frightened, and they desired more security for a change. After a while, they started complaining, although more secure, they also become more dependent and rule-bound.
There was engrained poetry and then when you look back at our history and in the 20th century, the last century, probably the greatest writers of the 20th century were Irish. It became our only weapon, was our poetry, our music.
20th century poetry is a piñata. Images break from the earth when the poet strikes it.
Until the Left took over American public education in the second half of the 20th century, it was generally excellent - look at the high level of eighth-grade exams from early in the 20th century and you will weep. The more money the Left has gotten for education - America now spends more per student than any country in the world - the worse the academic results. And the Left has removed God and dress codes from schools - with socially disastrous results.
I was really interested in 20th century communalism and alternative communities, the boom of communes in the 60s and 70s. That led me back to the 19th century. I was shocked to find what I would describe as far more utopian ideas in the 19th century than in the 20th century. Not only were the ideas so extreme, but surprising people were adopting them.
After reading Edgar Allan Poe. Something the critics have not noticed: a new literary world pointing to the literature of the 20th Century. Scientific miracles, fables on the pattern A+ B, a clear-sighted, sickly literature. No more poetry but analytic fantasy. Something monomaniacal. Things playing a more important part than people; love giving away to deductions and other forms of ideas, style, subject and interest. The basis of the novel transferred from the heart to the head, from the passion to the idea, from the drama to the denouement.
Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt, in a sense, against actuality.
My biggest poetic influences are probably 20th-century British and Irish poets. So I suppose I'm always listening for the music I associate with that poetry, the telling images, the brevity. I want to hear it in my own work as well as in the poetry I read. However, I think I'm generally more forgiving of other poets than myself.
It's a historical thing, up to the 19th century the English hated the French. Then in the 20th century the English started to hate the Germans - as we began to move alphabetically through the map of the world. Now, the year 2000, we are fine with the Germans... but the Hungarians are pissing us off.
More girls were killed in the last 50 years, precisely because they were girls, than men killed in all the wars in the 20th century. More girls are killed in this routine gendercide in any one decade than people were slaughtered in all the genocides of the 20th century. The equivalent of 5 jumbo jets worth of women die in labor each day... life time risk of maternal death is 1,000x higher in a poor country than in the west. That should be an international scandal.
More than any other poet, Whitman is what we make him; more than any other poet, his greatest value is in what he suggests and implies rather than in what he portrays, and more than any other poet must he wait to be understood by the growth of the taste of himself.
Political poetry is more profoundly emotional than any other-at least as much as love poetry-and cannot be forced because then it becomes vulgar and unacceptable. It is necessary first to pan though all other poetry in order to become a political poet.
We've wanted to produce more in the 19th century and the 20th century in order to give man the possibility for more dignified human life; but actually what has happened is that production and consumption have become means - have ceased to be means and have become ends, and we are production crazy and consumption crazy.
In our time the blasphemies are threadbare. Pessimism is now patently, as it always was essentially, more commonplace than piety. Profanity is now more than an affectation - it is a convention. The curse against God is Exercise I in the primer of minor poetry.
There are signs that the age of petroleum has passed its zenith. Adjusted for inflation, a barrel of crude oil now sells for three times its long-run average. The large western oil companies, which cartellised the industry for much of the 20th century, are now selling more oil than they find, and are thus in the throes of liquidation.
He who writes poetry is not a poet. He whose poetry has become his life, and who has made his life his poetry - it is he who is a poet.
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