A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
Good prose should be transparent, like a window pane.
The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature.
Poetry makes its own pertinence, and a single stanza outweighs a book of prose.
Poetry: the best words in the best order.
I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose = words in their best order; - poetry = the best words in the best order.
In the television age, the key distinction is between the candidate who can speak poetry and the one who can only speak prose.
She would only point out the salvation that was latent in his own soul, and in the soul of every man. Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer. Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die.
After all, poets shouldn't be their own interpreters and shouldn't carefully dissect their poems into everyday prose; that would mean the end of being poets. Poets send their creations into the world, it is up to the reader, the aesthetician, and the critic to determine what they wanted to say with their creations.
I think the underlying purpose is expression. It's not about technique, it's not about hitting the right note, writing the perfect prose, having the perfect brushstroke. It's about expression of oneself, the things around you, and the emotions. I think expression is the one word that I would use, whether it's for sorrow, tragedy, joy, or even the need to express and be heard.
So much of the effort that goes into writing prose for me is about making sentences that capture the music that I'm hearing in my head. It takes a lot of work, writing, writing, and rewriting to get the music exactly the way you want it to be.
Nothing flatters me more than to have it assumed that I could write prose, unless it be to have it assumed that I once pitched a baseball with distinction.
I don't suppose a writing man ever really gets rid of his old crocus-yellow neckties. Sooner or later, I think, they show up in his prose, and there isn't a hell of a lot he can do about it.
Writing anything is terribly hard but, alas for me, because I am addicted, a heck of a lot of fun. I often am sorry I ever started writing prose, because it is so hard. But I can't stop.
Prose should have a flow, the forward momentum of a certain energized weight; it should feel like a voice tumbling in your ear.
Details are the Life of Prose.
To write rhythmic prose one must go deep into oneself and find the anonymous and multiple rhythm of the blood. Prose needs to be built like a cathedral. There, one is truly without a name, without ambition, without help; on scaffoldings, alone with one's consciousness.
Why do you always write poetry? Why do you not write prose? Prose is so much more difficult.
It's a completely powerful and serious book, as good as anything in prose or poetry written by a 'beat' writer, and one of the most alive books written by any American for years. I don't see how it could be considered immoral.
For me, poetry is an evasion of the real job of writing prose.
In our fine arts, not imitation, but creation is the aim... The details, the prose of nature, he should omit, and give us only the spirit and splendour.
I wish my prose to be transparentI don't want the reader to stumble over me; I want him to look through what I'm saying to what I'm describing. I don't want him ever to say, Oh, goodness, how nicely written this is. That would be a failure.
You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.
Much modern prose is praised for its terseness, its scrupulous avoidance of curlicue, etcetera. But I don't feel the deeper rhythm there. I don't think these writers are being terse out of choice. I think they are being terse because it's the only way they can write.
The language of the age is never the language of poetry, except among the French, whose verse, where the thought or image does not support it, differs in nothing from prose.
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