With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2."
[Tom] Wolfe's books offered a whole new world to step into, and whilst at times you could accuse him of being somewhat long-winded, he had an incredible quality of prose and a bravery of writing from the heart. He believed in being autobiographical at all times.
I'd always been really intimidated by prose writing.
I didn't mind writing incoherently, up until about 1980, occasionally. But after that, I decided, might as well be articulate. And I found, though, that writing poetry affected my prose to the point where I never again wrote in one draft, and my prose just took longer and longer and longer. It took longer and longer to come up with an acceptable text. And that's probably one of the reasons that my output has slowed down.
In some sense that was a blessing, because it forced me to focus on prose. I feel my narrative voice in prose is more authentically me because I developed it without ever soliciting the advice of anyone else.
It all depends on what I'm working on and if there is a deadline involved. Anything that's headed toward a magazine or newspaper is hacked out on the computer; that's a matter of efficiency. I write longer pieces of prose on a typewriter because the act of retyping it for the computer is a useful tactic for revision. Poems tend to be written longhand.
When I'm describing wartime activities or violence I don't want to be too ornate, to prettify the picture. Once we trace them to the present, the prose becomes denser.
I often say that Bernhard, W.G. Sebald, and Javier Marías are my stylistic holy trinity, prose writers who amaze me with their notation of consciousness and voice.
The first book was my first attempt at writing full-length prose.
Poetry teaches us things that cannot be learned in prose, such as certain kinds of irony or the importance of the unsaid. The most important element of any poem is the part that is left unsaid. So the poetry frames the experience that lies beyond naming.
I don't have a philosophy. If I had a philosophy, it's that I'm kind of literal minded. For example, I would never translate poetry - it's too hard, there are too many levels. Not that prose doesn't have many levels, but it's more grounded.
I prefer my prose evocative rather than simply effective, with a bit of poetry to it.
At the emergence of the modern novel with Rabelais and Cervantes, all kinds of things were possible in a long-form prose work. Within a couple of hundred years, most of those possibilities were abandoned in favor of a text that efficiently transmitted sentiments.
To my mind, Death in Venice represents an enormous advance in Mann's literary development, not simply for the commonly appreciated reason that he crafted a superbly supple and elegant style, apparently well suited to the kind of prose Aschenbach is supposed to write.
Poetry is a language for when you can't quite write prose about something, you can't quite say it, but if you do a poem, it kind of gets to the point.
I'd say the music influences the writing - the music and rhythm of the prose - much more than the writing influences the music.
The short story feels like the most natural length for prose fiction, or certainly for the kind of ideas and situations I like to encounter.
Growing up in Malaysia and England, there wasn't an obvious route into the comics world, so my creative energy went into theatre and prose and then movies and TV.
At some point, sitting in the school library, during reading period, I looked up from my leopard print hardcover composition notebook where I was scribbling a derivative [John Ronald Reuel ] Tolkien epic full of purple prose in tiny handwriting and thought to myself, "Damn! I am a writer! How did that happen?".
...We may encounter many defeats, but we must not be defeated. That sounds goody two-shoes, I know, but I believe that a diamond is the result of extreme pressure and time. Less time is crystal. Less than that is coal. Less than that is fossilized leaves. Less than that it's just plain dirt. In all my work, in the movies I write, the lyrics the poetry, the prose, the essays, I am saying that we may encounter many defeats - maybe it's imperative that we encounter the defeats - but we are much stronger than we appear to be and maybe much better than we allow ourselves to be.
Who among us has not dreamt, in moments of ambition, of the miracle of a poetic prose, musical without rhythm and rhyme, supple and staccato enough to adapt to the lyrical stirrings of the soul, the undulations of dreams, and sudden leaps of consciousness.
Poetry is prose bewitched, a music made of visual thoughts, the sound of an idea.
What I can say is that it was clear to many of us that an indigenous African literary renaissance was overdue. A major objective was to challenge stereotypes, myths, and the image of ourselves and our continent, and to recast them through stories- prose, poetry, essays, and books for our children. That was my overall goal.
I can't be expected to produce deathless prose in an atmosphere of gloom and eucalyptus.
The snow was too light to stay, the ground too warm to keep it. And the strange spring snow fell only in that golden moment of dawn, the turning of the page between night and day.
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