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
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.
Interpretation
The quote captures a moment of beauty and admiration between two people, highlighting the significance of ordinary actions.
In this quote, Billy Collins uses the imagery of a delicate cello and a man's reverent gaze to depict a profound moment of appreciation and love. The comparison to saints gazing at God suggests that even in mundane tasks, such as lifting an instrument onto a train rack, there can be a sacred beauty that elevates the experience, reminding us of the extraordinary in everyday life.
In practice
During a heartfelt speech about love at a wedding.
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.
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.
If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out. In a poem, the pen is more like a flashlight, a Geiger counter, or one of those metal detectors that people walk around beaches with.
Ladies bathed before noon, after their three o'clock naps, and by nightfall were like soft teacakes with frostings of sweat and sweet talcum.
A writer - and, I believe, generally all persons - must think that whatever happens to him or her is a resource. All things have been given to us for a purpose, and an artist must feel this more intensely. All that happens to us, including our humiliations, our misfortunes, our embarrassments, all is given to us as raw material, as clay, so that we may shape our art.
If I heard someone else singing like me, I would buy it in a heartbeat.
What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
Rigel, Betelgeuse, and Orion. There was no finer church, no finer choir, than the stars speaking in silence to the many consumptives silently condemned, a legion upon the dark rooftops. The wind came down from the north like a runner in lacrosse, violent and hard, to batter every living thing. They were there, each one alone in conversation with the stars, mining ephemeral love from cold and distant light.
When I was building the Vietnam Memorial, I never once asked the veterans what it was like in the war, because from my point of view, you don't pry into other people's business.
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