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I suppose people might consider me a 'loose' reader, as I seem willing to read anything of quality thinking and prose.
McCarthy's prose in 'Blood Meridian' comes blazing from the Book of Revelation.
When interviewing for a job, tell the editor how you love to report. How your passion is gathering information. Do not mention how you want to be a writer, use the word 'prose,' or that deep down you have a sinking suspicion you are the next Norman Mailer.
I think there's something quite interesting about the almost tragic quality of a lot of overwrought prose, because it has a much more self-conscious awareness of its own failure to touch the real.
Lincoln, steeped in the Bible and Shakespeare, set an impossibly high bar for presidential prose.
I think my prose reads as if English were my second language. By the time I get to the end of a paragraph, I'm dodging bullets and gasping for breath.
If you like the precision and concision of poetry, a page of prose is unsatisfying in a certain way. And poetry is so direct.
I guess I find the boundaries between poetry and prose to be somewhat permeable.
The decision to write in prose instead of poetry is made more by the readers than by writers. Almost no one is interested in reading narrative in verse.
And what holds good of verse holds infinitely better in respect to prose.
I want prose fiction to be recognized as that, and I'm not interested in writing as it becomes more personal.
John C. Hawkes
My first book was poetry, but I didn't write it first. I wrote it third. So my first two books were prose.
Daniel Woodrell has made a name as a master of prose with personality - a densely descriptive, gamey form of storytelling, one might say traditional storytelling - of late rather an unfashionable mode.
I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.
I would never write realistic prose. I don't like people who try to write in a poetic style, but in the course of their book abandon it for realism, and weave back and forth like drunkards between the surreal and the real.
My affinity, as a novelist, with Dickens has been overstated. I relish the way everything in his prose pulsates with life force, and I'm in debt to him every time I invest inanimate objects with uncanny animism. But his female characters annoy me.
I say that glorious prose is a fine and laudable thing, but without an enthralling story, it's just so much verbal tapioca. Simply put, the best books have both, and the best writers disparage neither.
Jean Hanff Korelitz
I've already written 300 space poems. But I look upon my ultimate form as being a poetic prose. When you read it, it appears to be prose, but within the prose you have embedded the techniques of poetry.
The poetic prose that most interests me is that of Henri Michaux.
When prose gets too stylized and out of control - and Stein is sometimes a good example - when you don't know what the hell is going on, then it's kind of boring.
I've got to hear the rhythm of the sentences; I want the music of the prose. I want to see ordinary things transformed not by the circumstances in which I see them but by the language with which they're described. That's what I love when I read.
The very best moment of writing 'Swamplandia!' was when I figured out what the ending should be. And even though I changed the prose of it, that realization was an ice cube melting in my chest.
It was an instinct to put the world in order that powered her mending split infinitives and snipping off dangling participles, smoothing away the knots and bumps until the prose before her took on a sheen, like perfect caramel.
A poet or prose narrator usually looks back on what he has achieved against a backdrop of the years that have passed, generally finding that some of these achievements are acceptable, while others are less so.
Poetry is its own medium; it's very different than writing prose. Poetry can talk in an imagistic sense, it has particular ways of catching an environment.
We don't attempt to have any theme for a number of the anthology, or to have any particular sequence. We just put in things that we like, and then we try to alternate the prose and the poetry.
A. P. J. Abdul Kalam
Martin Luther King, Jr.
Leonardo da Vinci
Image of the Moment
Love is the triumph of imagination over intelligence.
H. L. Mencken
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