George Moore unexpectedly pinched my behind. I felt rather honored that my behind should have drawn the attention of the great master of English prose.
Demanding historical (or scientific) veracity as a prerequisite for truth is another kind of tunnel vision. To do so is to mistake poetry for prose.
Educationists are entertaining. We can always find a good laugh in their prose, with its special, ludicrous combination of ignorance and pretentiousness.
From the moment that photography appeared, the descriptive genre began to invade Letters... In verse as in prose the décor and exterior aspects of life took an almost excessive place.
If there is anything unique about my writing it is the way that I combine poetry and prose, not just on the level of having a poem here, prose there, but that it really is a true amalgam.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
My husband makes fun of me, because I know I can use strong prose to jazz-hand my way through plot that isn't as interesting as I'd like it to be.
Well, I kind of approach both of them similarly in (that) I always see it as a movie first because that's my background. Cindy Kelley, who has been my writing partner on my novels, she works more on the prose side and the description side of the storytelling because, obviously, there's a lot more of that in a novel than in a screenplay. You only have up to 120 pages in a screenplay.
The richly cadenced prose is hypnotic, the research prodigious, the analysis acute, the mood spellbinding, and the cast of characters mythic in scale. I cannot conceive of a better book about Capitol Hill. An unforgettable, epic achievement in the art of biography.
I often encountered books by academics and others who had not actually done what they had written about. They tend to create artificial simplicity; their prose doesn't have the vigor of "lived words." On the other hand, many practitioners lack the context or introspection to make their experiences and understandings transferable - and, in our time, many don't actually write the books they "author." My ideal is to unify theory and practice.
Kelly Link's prose is conveyed in details so startling and fine that you work up a sweat just waiting for the next sentence to land. This is why we read, crave, need, can't live without short stories.
Fischer was a good kid but very unsophisticated about anything but chess. It was all chess for him, every waking moment. We'd go down to the Four Continents bookstore and he'd buy any Russian chess material he could get his hands on. He'd learned enough Russian to get the gist of prose and he just absorbed the chess part.
Do you know what the lurid intermixture of complicated emotions produces, according to Nathaniel Hawthorne? That's right, it produces the illuminating blaze of the infernal regions. Ryan MacDonald's glorious shards of prose are both lurid and blazing, and together they comprise an anthology of complex feelings-dream-like, vivid, and never, ever obvious.
A short story is "a short prose narrative, requiring from a half hour, to one or two hours in its perusal...having conceived, with deliberate care, a certain unique or single effect to be wrought out.
Winter is on my head, but eternal spring is in my heart. The nearer I approach the end, the plainer I hear around me the immortal symphonies of the worlds which invite me. . . . For half a century I have been writing thoughts in prose, verse, history, drama, romance, tradition, satire, ode, and song. I have tried them all, but I feel I have not said a thousandth part of that which is within me. When I go down to the grave, I can say "I have finished my day's work," but I cannot say "I have finished my life's work."
The age is materialistic. Verse isn't. I must be with the age, so I am writing prose.
What line breaks add to prose prosody is a connection between eye and ear which emphasizes the nature of the language by ... creating units of intent and emphasis, and by contouring the meloding pitch changes in the narrative-line.
I think many people (like myself) prefer to read poetry mixed with prose; it gives you more to go by; the conventions of poetry have been getting far off from normal life, so that to have a prose bridge makes reading poetry seem more natural.
There are some simple maxims which I think might be commended to writers of expository prose. First: never use a long word if a short word will do. So, if you want to make a statement with a great many qualifications, put some of the qualifications in separate sentences. Third: do not let the beginning of your sentence lead the reader to an expectation which is contradicted by the end.
Reading Don Quixote can be compared to an indefinite visit from your most impossible senior relative, with all his pranks, dirty habits, unstoppable reminiscences, and terrible cronies. When the experience is over, and the old boy checks out at last (on page 846 - the prose wedged tight, with no breaks for dialogue), you will shed tears all right; not tears of relief or regret but tears of pride. You made it, despite all that 'Don Quixote' could do.
I find in my poetry and prose the rhythms and imagery of the best - I mean, when I'm at my best - of the good Southern black preachers. The lyricism of the spirituals and the directness of gospel songs and the mystery of blues are in my music or in my poetry and prose, or I missed everything.
I'm happy to be a writer - of prose, poetry, every kind of writing. Every person in the world who isn't a recluse, hermit or mute uses words. I know of no other art form that we always use.
A merely great intellect can produce prose, but not poetry, not one line.
More people pay attention to fiction and to narrative than pay attention to journalism. That's quite sad. More people pay attention to television than to prose. That's equally sad, if not more so.
The poet in prose or verse - the creator - can only stamp his images forcibly on the page in proportion as he has forcibly felt, ardently nursed, and long brooded over them.
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