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.
Billy CollinsRead
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.
Interpretation
The essence of poetry often starts with a compelling first line that drives the rest of the poem forward.
In this quote, Billy Collins discusses the creative process of writing poetry, particularly emphasizing the importance of the first line as a spark that can either lead to a complete piece or fade away without further development. He suggests that intuition plays a role in recognizing which lines have the potential to grow, giving a sense of momentum that guides the poem's progression.
In practice
In a workshop about creative writing, a facilitator might use this quote to illustrate the importance of a strong opening line.
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.
People think of poetry as a school subject... Poetry is very frustrating to students because they don't have a taste for ambiguity, for one thing. That gives them a poetry hangover.
To a poet, it's quite ruinous to have a poem distorted, out of shape, or squeezed, shall we say, into this tiny screen. But I'm not sure big digital companies are sensitive to the needs of poets.
All they want to do is tie the poem to a chair with a rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.
And the reason I am writing this on the back of a manila envelope now that they have left the train together is to tell you that when she turned to lift the large, delicate cello onto the overhead rack, I saw him looking up at her and what she was doing the way the eyes of saints are painted when they are looking up at God when he is doing something remarkable, something that identifies him as God.
The whole world of publishing is moving to electronic, but when you put a poem on a screen and you increase the type size, the shape of a poem changes.
We have created characters and animated them in the dimension of depth, revealing through them to our perturbed world that the things we have in common far outnumber and outweigh those that divide us.
People always say when they meet me that I'm not what they expect. I assume they think I'm this super dark and depressing guy, but I like to channel all of those emotions into my work.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
I've never gotten over what they call stagefright. I go through it every show. I'm pretty concerned, I'm pretty much thinking about the show. I never get completely comfortable with it, and I don't let the people around me get comfortable with it, in that I remind them that it's a new crowd out there, it's a new audience, and they haven't seen us before. So it's got to be like the first time we go on.
That for me was the big turning point in my artistic life, when my wife and I had our kids. The world got infused with morality again. Every person in the world should theoretically be loved as much as I love my daughters.
For me, the Sundance Institute is just an extension of something I believed in, which is creating a mechanism for new voices to have a place to develop and be heard.
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