A Quote by Billy Collins
There's a lot of unconscious activity that goes on I think in the composition of a poem.
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I think it's good not to make demands on the reader too early. But as the poem goes on, I want the journey of the poem to lead into some interesting places.
I want to reiterate that my understanding of the poem is not the poem's core, true meaning. Once a poem goes out into the world, the poet is just one more reader.
I think a lot of creative people are uncomfortable with therapy. Because you're basically trying to 'solve' the unconscious. And the unconscious is where it all comes from.
I think a lot of psychological healing tends to work on that basis. We go into the unconscious to find what's holding you back, so to speak, and I think there is an unconscious body image that may be responsible for the unhealing that's taking place.
The subject of the poem usually dictates the rhythm or the rhyme and its form. Sometimes, when you finish the poem and you think the poem is finished, the poem says, "You're not finished with me yet," and you have to go back and revise, and you may have another poem altogether. It has its own life to live.
I think what gets a poem going is an initiating line. Sometimes a first line will occur, and it goes nowhere; but other times - and this, I think, is a sense you develop - I can tell that the line wants to continue. If it does, I can feel a sense of momentum - the poem finds a reason for continuing.
The other thing in composition is opening up the unconscious.
I feel that when a white child goes to school only with white children, unconsciously that child grows up in many instances devoid of a world perspective. There is an unconscious provincialism, and it can develop into an unconscious superiority complex just as a Negro develops an unconscious inferiority complex.
If after I read a poem the world looks like that poem for 24 hours or so I'm sure it's a good one—and the same goes for paintings.
I pay a lot of attention to composition in my art, and I will often shift myself or change a pose according to the golden triangle rule of photography composition.
I'm old-fashioned enough to really still believe that the poem is an object to be memorized, venerated... I still believe in that kind of poem. A lot of poets today don't, they want to get away from the poem as object. They want something looser. Unfortunately, a lot of it is boring to me.
From the beginning. I was a poem-writing child. I wrote little novels in my composition book when I was eight, nine years old.
There's no artist in this world that doesn't enjoy the dream that if they have bad reviews now, the story of Keats can redeem them, in their fantasy or imagination, in the future. I think Keats' poem 'Endymion' is a really difficult poem, and I'm not surprised that a lot of people pulled it apart in a way.
Poetry comes to me out of thin air or out of my unconscious mind. It's sort of the way dreams come to us and the way that we get knowledge from them, through television, old movies, which I watch a lot of. Lines of dialogue suddenly seem to be part of a poem.
I don't think of poetry as a 'rational' activity but as an aural one. My poems usually begin with words or phrases which appeal more because of their sound than their meaning, and the movement and phrasing of a poem are very important to me.
Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.
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