The Uncarved Blog

As we’ve seen in a recent post about the writing and teaching of poetry, Billy Collins wants the poem he’s writing to complete itself, to come to an end. When he writes a poem, he says meaning is the furthest thing on his mind. He’s just trying to get to the next line, to arrive at the ending. “It’s not a search for insight, particularly. It’s a search to be over with.”

In this interview with Ginger Murchison at the 9th Annual Palm Beach Poetry Festival, Billy Collins reveals more about the ending of a poem, how what happens is even more important than the last line of the poem.

During the interview, Ginger Murchison mentions something Billy Collins had alluded to about the end of a poem, and asks him:

What happens at the end of the poem? I want to know about that white space after the last period, for the poet and the reader. You said your poem goes towards somewhere. How do you see that as being more important than even the last line of the poem, that space at the end?

He answers her by describing the significance of the white space:

Well, the white space at the end is just like the white space around the rest of the poem. It stands for silence. And maybe the white space after the end of the poem is a little more silent than the other silences. I think of a poem as an interruption of silence.

He also talks about how satisfying it can be to find the ending to a poem. The implication being, the silence that follows the ending as something new that is created within the writer and the reader.

Once you find it, it’s incredibly satisfying. You found something that didn’t exist before. That the poem brings, calls into existence, through a series of steps, it gains some kind of ground, and out of that ground, there occurs something that had never existed before. It comes as a sort of gain, surprise.

I certainly can relate to that, and described in the previous post how certain poems completed themselves in ways I hadn’t imagined. When that happens, and when a poem enlivens a silence, within and between both the poet and the reader, or listener, it creates a deep feeling of fulfillment.

After hearing a discussion with Bill Moyers and 3 well-known poets on the Diane Rehm show discussing the creation of a poem and the effect it had on an audience when recited, I was inspired to write a poem about this mysterious creative process as something elemental, transcendental.

Poetry—The Art of The Voice, describes the source, course, and goal of poetry springing from and returning to silence, through a poet’s inner voice or consciousness, to a listener’s heart and mind. It also relates to the notion of a writer finding and expressing his or her own voice as a poet.

Another poem I wrote shows how Silence ultimately speaks for itself. See Telling the Story of Silence by Ken Chawkin.

Creation comes about through sounds and silences, expressions and gaps, within which the dynamics of transformation occur. See Coalescing Poetry: Creating a Uni-verse.

For a more detailed explanation of these dynamics in language and creation, see Singing Image of Fire, a poem by Kukai, with thoughts on language, translation, and creation, and Yunus Emre says Wisdom comes from Knowing Oneself — a Singularity that contains the Whole.

George Plimpton interviewed Billy Collins for The Paris Review

As referenced by Ginger Murchison, George Plimpton had interviewed Billy Collins for The Paris Review in 2001 after news of his appointment as the new poet laureate by the Library of Congress. He would go on to serve two terms, 2001-2003. Although published 14 years ago, this interview is definitely worth reading:  Billy Collins, The Art of Poetry No. 83.

The interview opens with Plimpton asking Collins how he starts to write a poem. He says he doesn’t write that regularly, much of his time is waiting and watching; he’s vigilant. But when he’s engaged he usually writes a poem quickly, in one sitting.

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 first line is the DNA of the poem; the rest of the poem is constructed out of that first line. The first few lines keep giving birth to more and more lines.

That makes perfect sense. He doesn’t know where he’s going and hopes the poem is one step ahead of him, holding his interest, leading him down the trail to that elusive mysterious ending. I love the different metaphors he uses to describe the pen as a tool to help him discover that something he’s not yet aware of.

Like most poets, I don’t know where I’m going. The pen is an instrument of discovery rather than just a recording implement. 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. You’re trying to discover something that you don’t know exists, maybe something of value.

He explains how he likes to invite the reader into a poem with something ordinary, then take him or her, and himself to a place he hasn’t been to yet.

I want to start in a very familiar place and end up in a strange place. The familiar place is often a comic place, and the strange place is indescribable except by reading the poem again.

There’s a lot more to the interview, but he concludes humbly by saying that he’s just trying to be a good writer.

No matter what I’m thinking about when I’m writing a poem, no matter what is captivating my attention, all I’m really trying to do is write good lines and good stanzas.

There’s a reason he’s called America’s most popular poet. He has made poetry accessible to millions of Americans. He continues to write, publish, sell books, teach, and is in constant demand to give poetry readings.

It is a delight to read his poetry. His subtle sense of humor puts a smile on my face. It’s also enjoyable to hear him recite his poems. Seemingly ordinary, they give you a unique perspective on things that were previously unimaginable, and that’s refreshing!

See the previous post: Billy Collins suggests more creative ways to respond to poetry than analyzing it to death. Enjoy the poetic genius and humor of Billy Collins reading his poem “January in Paris” and Billy Collins humorously disagrees with Heraclitus showing how to go into the same water twice.

The Library of Congress Web Guides: Billy Collins: Online Resources.

^{— Written and compiled (citing sources) by Ken Chawkin for The Uncarved Blog.}

Tags: Bill Moyers, Billy Collins, completing a poem, diane rehm, ending a poem, ending of a poem, fiction, george plimpton, Ginger Murchison, Ken Chawkin, Kukai, language, palm beach poetry festival, Paris Review, poet, poet laureate, poetic fulfillment, Poetry, reading poetry, silence, u.s. poet laureate, white space, writing poetry, yunus emre

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