Zitat des Tages über Prosa / Prose:
The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
In the plays - that's where I go crazy. But my prose has a much lighter touch; it's not trying to thrill with language, just to be more truthful. I'm not concerned with the accuracy of anything. We don't get to the truth of anything with facts.
I spend eight months outlining and researching the novel before I begin to write a single word of the prose.
In my younger days, I was trying to write sophisticated prose and fantastic stories.
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.
It is a way we reassess our past. We can do that in poetry in ways we can't do in prose.
I think graphic novels are closer to prose than film, which is a really different form.
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.
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.
Long before the idea of a writer's conference was a glimmer in anyone's eye, writers learned by reading the work of their predecessors. They studied meter with Ovid, plot construction with Homer, comedy with Aristophanes; they honed their prose style by absorbing the lucid sentences of Montaigne and Samuel Johnson.
I really don't have a lot in common with the people who attend the Comic Con. It's like assuming that all people who write prose are the same.
Because I write prose, when I sat down to write a comic, it feels like my brain's working differently. It actually feels like different bits of my head are springing into action.
No, I can't write treatments, I think there's a danger with treatments. That you... you write out your first excitement and enthusiasm in a prose treatment.
A lot of time, I'd spell things in standard English instead of phonetically because I want people to understand what's going on. It's also very lyrical, and the great thing about lyrical prose is even when you're not totally sure of the words, you can be swayed by the musicality of it.
In true prose everything must be underlined.
Prose talks and poetry sings.
When you have an idea for a story, you want those characters to reach as many people as you can. I think you normally think of prose as a way of doing that. It fits our time, the culture.
Always be a poet, even in prose.
It was not till toward the end of the thirteenth century that the prose romances began to appear.
Poetry is a beautiful way of spoiling prose, and the laborious art of exchanging plain sense for harmony.
But every great scripture, whether Hebrew, Indian, Persian, or Chinese, apart from its religious value will be found to have some rare and special beauty of its own; and in this respect the original Bible stands very high as a monument of sublime poetry and of artistic prose.
And write what you love - don't feel pressured to write serious prose if what you like is to be funny.
I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.
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.
A lot of times you get people writing wonderful sentences and paragraphs, and they fall in love with their prose style, but the stories really aren't that terrific.
Whatever brief delights it provides, mere strangeness in poetry and prose eventually leaves us cold, especially when we suspect the writer is stretching for effect to avoid the actual life before his eyes.
I can manage a prose format as long as I keep closer to Laurence Sterne than to Henry James.
And what holds good of verse holds infinitely better in respect to prose.
Prose books are the show dogs I breed and sell to support my cat.
I like to write with a lot of emotion and a lot of power. Sometimes I overdo it; sometimes my prose is a little bit too purple, and I know that.
Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.
Mandy Sutter's 'Bush Meat' triumphs in its lean prose and true dialogue, in its disarming humour, in its evocation of a family divided by sexism and racism in 1960s Nigeria.
All which is not prose is verse; and all which is not verse is prose.
Though my poems are about evenly split between traditionally formal work that uses rhyme and meter and classical structure, and work that is freer, I feel that the music of language remains at the core of it all. Sound, rhythm, repetition, compression - these elements of my poetry are also elements of my prose.
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.
I'm a better polemicist in prose.
