Prose Quotes - page 15
I don't think it's a responsibility, but I certainly think it's something poetry can do, and I think that poetry has a unique ability to do it because of its self-referential nature and its self-conscious nature. And I mean that in the sense that, in prose, we're not often as conscious of the language and the operation of language itself. Our focus in on the content, on what is denotatively produced. In poetry we are trained, or at least readers of poetry are trained, to attend to or account for the structures of language as well as what that language conveys.
Gregory Pardlo
I realized I was thinking about fiction two-dimensionally. When I'm writing comics, I'm also visualizing how the story will look on the page-not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose.
Marjorie Liu
The first work I published was a poem. That was one of my most exciting moments. Afterwards, I wrote many different types of articles, including prose, novels, and even science fiction. However, I found I wasn't very qualified, because I only had a four-year primary school education. So I turned to writing fairy tales.
Zheng Yuanjie
Now verse is more valuable than prose ... for the simple reasons that its rhythms are faster and more highly organized than are those of prose, and so lend themselves to a greater complexity and compression of relationship, and that the intensity of this convention renders possible a greater intensity of other desirable conventions, such as poetic language and devices of rhetoric.
Yvor Winters
Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to meter. The proper and immediate object of science is the acquirement, or communication of truth; the proper and immediate object of poetry is the communication of immediate pleasure.
Samuel Taylor Coleridge
Poetry, as nearly as I can understand it, is a statement in words about a human experience, whether the experience be real or hypothetical, major or minor; but it is a statement of a particular kind. Words are symbols for concepts, and the philosopher or scientist endeavors as far as may be to use them with reference to nothing save their conceptual content. Most words, however, connote feelings and perceptions, and the poet, like the writer of imaginative prose, endeavors to use them with reference not only to their denotations but to their connotations as well. Such writers endeavor to communicate not only concepts, arranged, presumably, either in rational order or in an order of apprehensible by the rational mind, but the feeling or emotion which the rational content ought properly to arouse.
Yvor Winters
I could never have believed that such kindness existed: to receive my wretched drawings and then thank me into the bargain. And you need not be so scrupulous about my drawings. Just use those you like.... But, I am madly, crazily happy at the thought that your prose [Devismes novel 'Cocotte'], like so many fireworks, will frame my daubs, that you should have offered me a helping hand on the arduous road towards getting known...
Henri de Toulouse-Lautrec
But where repose the all Etruscan three-
Dante, and Petrarch, and, scarce less than they,
The Bard of Prose, creative Spirit! he
Of the Hundred Tales of Love?
And have their Country's Marbles nought to say?
Could not her quarries furnish forth one bust?
Did they not to her breast their filial earth entrust?
Ungrateful Florence! Dante sleeps afar,
Like Scipio, buried by the upbraiding shore,
and the crown
Which Petrarch's laureate brow supremely wore,
Upon a far and foreign soil had grown,
His Life, his Fame, his Grave, though rifled-not thine own.
Petrarch
[B]eing on the wrong side of history also served him a heaping plate of material for new work after 1945 when, in a trilogy of novels-D'un château l'autre (Castle to Castle, 1957), Nord (North, 1960), Rigodon (1961)-he chronicled a shattered world in ever more fragmented prose and honed his persecution complex via his increasingly deranged narrator. The writer who said he was only about style was in fact a revisionist historian, providing a rare and perversely instructive view of Vichy from the point of view of the defeated. His postwar novels are much more overtly political than the first two. They're also ventures into Holocaust denial: "Nuremberg," he wrote in D'un château l'autre, "needs redoing."
Louis-Ferdinand Céline
Tagore was his most influential Indian mentor. Tagore's poetry and prose resonated with him. He appreciated Tagore's emphasis on aesthetics as well as his appeal to intuition. From 1914 on, both of these notions - aesthetics and intuition - begin to find their place in his own interpretations of experience, the epistemological category for his philosophical and religious proclivities...he would repeatedly appeal to Tagore's writing to support his own philosophical ideals.
Sarvepalli Radhakrishnan
She might yet be able to help him to the building of the rainbow bridge that should connect the prose in us with the passion. Without it we are meaningless fragments, half monks, half beasts, unconnected arches that have never joined into a man. With it love is born, and alights on the highest curve, glowing against the grey, sober against the fire. Happy the man who sees from either aspect the glory of these outspread wings. The roads of his soul lie clear, and he and his friends shall find easy-going.
E. M. Forster
There is nothing willful or arbitrary about the Innis mode of expression. Were it to be translated into perspective prose, it would not only require huge space, but the insight into the modes of interplay among forms of organisation would also be lost. Innis sacrificed point of view and prestige to his sense of the urgent need for insight. A point of view can be a dangerous luxury when substituted for insight and understanding. As Innis got more insight he abandoned any mere point of view in his presentation of knowledge. When he interrelates the development of the steam press with 'the consolidation of the vernaculars' and the rise of nationalism and revolution he is not reporting anybody's point of view, least of all his own. He is setting up a mosaic configuration or galaxy for insight ... Innis makes no effort to "spell out" the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits...
Marshall McLuhan
I thought if I can still be the central voice but without having an ‘I' there, and by not having it there, it makes it easier for the reader to slip into the consciousness of the narrator. If you remove the letter ‘I' it becomes a universal I. Everybody is the author walking down those streets while they are in the prose.
Alan Moore
The idea occurred to me that art was perhaps this-the psychological component of the autoimmune system. It works on the artist as a healing. But it works on others too, as a medicine. Hence our great, insatiable thirst for it. However it comes out - whether a design in a carpet, a painting on a wall, the shaping of a doorway - we recognize that medicinal element because of the instant healing effect, and we call it art. It consoles and heals something in us. That's why that aspect of things is so important, and why what we want to preserve in civilizations and societies is their art - because it's a living medicine that we can still use. It still works. We feel it working. Prose, narratives, etcetera, can carry this healing. Poetry does it more intensely. Music, maybe, most intensely of all.
Ted Hughes
I know that I could, but it feels very unnatural for me to strip my prose like that, in part because place is so important to me. I feel like in the reading I did when I was growing up, and also in the way that people talk and tell stories here in the South, they use a lot of figurative language. The stories that I heard when I was growing up, and the stories that I read, taught me to use the kind of language that I do. It's hard for me to work against that when I am writing.
Jesmyn Ward
