Other Prose Quotes & Sayings

City of prose and fantasy, of capitalist automation, its streets a triumph of cubism, its moral philosophy that of the dollar. New York impressed me tremendously because, more than any other city, it is the fullest expression of our modern age. — Leon Trotsky

Parting
One is strong, a child now grown
The other weak, a parent aged
-
The strong once feeble
The weak once mighty
-
Time, the infinity
has marked them ... — Muse

If you read only the best, you will have no need of reading the other books, because the latter are nothing but a rehash of the best and the oldest. To read Shakespeare, Plato, Dante, Milton, Spenser, Chaucer, and their compeers in prose, is to read in condensed form what all others have diluted. — Anna Brackett

A poet is a blind optimist.
The world is against him for
many reasons. But the
poet persists. He believes
that he is on the right track,
no matter what any of his
fellow men say. In his
eternal search for truth, the
poet is alone.
He tries to be timeless in a
society built on time. — Jack Kerouac

My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself. — Alex Lemon

I'd like to return to prose after a fifteen-year hiatus. An epistolary novella maybe. A man went into the mountains fifteen years ago to write the following letter to a woman: "Dear B., I'd like to strike you down with an iron rod. Maybe I love you. If you feel the same way and your wishes conform to mine, then please please get in touch with me posthaste. We'll discuss this matter together and make the necessary arrangements if everything works out. With warm wishes, Your Bernd." The letter is, however, never mailed and never written. In further letters to B. from Bernd, he pursues, among other things, the question: why? The last letter could be the one in which Bernd lets B. know that the matter has been settled since he has just been struck down by a group of women with iron rods. — Urs Allemann

Sweeping the dorm soon's it's empty, I'm after dust mice under his bed when I get a smell of something that makes me realize for the first time since I been in the hospital that the big dorm full of beds, sleeps forty grown men, has always been sticky with a thousand other smells - smells of germicide, zinc ointment, and foot powder, smell of piss and sour old-man manure, of Pablum and eyewash, of musty shorts and socks musty even when they're fresh back from the laundry, the stiff odor of starch in the linen, the acid stench of morning mouths, the banana smell of machine oil, and sometimes the smell of singed hair - but never before now, before he came in, the man smell of dust and dirt from the open fields, and sweat, and work. — Ken Kesey

The only realism in art is of the imagination. — William Carlos Williams

Each of us carries a room within ourselves, waiting to be furnished and peopled, and if you listen closely, you may need to silence everything in your own room, you can hear the sounds of that other room inside your head. — Susan Sontag

Helen Lowe writes wonderful stories, yes, but her work also speaks with lyricism to deeper questions of how we treat each other. With lovely prose that brings vivid life to her characters, she creates a universe with people we care about. This is an author with a gift for fantasy. — Catherine Asaro

Poetry is not simply a fashion of expression: it is the form of expression absolutely required by a certain class of ideas. Poetry, indeed, may be distinguished from Prose by the single circumstance, that it is the utterance of whatever in man cannot be perfectly uttered in any other than a rhythmical form: it is useless to say that the naked meaning is independent of the form: on the contrary, the form contributes essentially to the fullness of the meaning. — Johann Wolfgang Von Goethe

Around the outside of the room other beautiful women wearing little or nothing at all flitted between the infatuated, intoxicated men, sometimes luring them away for a private dance. The men would follow obediently, weighed down by lust and credit cards. — R.D. Ronald

My Family and Other Saints echoes Gerald Durrell's classic memoir, My Family and Other Animals, not only in its title, but in its wonderful humor and lyrical prose. Like Durrell, Kirin Narayan takes the reader to a fascinating world far from our own, and brings to life its myriad sights, sounds and smells, while revealing the profound cultural beliefs of its people. India is just the most complex character among a cast of characters-family members, gurus, hippies, and neighbors-all of whom I now count as old friends. — Judith Barrington

Yuvali struggled to put one foot in front of the other. The long leaves of a purple-flowered bush raked her forehead. The flower emerged from bulbous green tubes, unfolding toward the sun. The petals radiated like flecks in an eye, a whirlpool, a sea-shell." Ch.19 — B.T. Lowry

... and now and then we could look up and give each other a thought,
because I think he could have beautiful thoughts,
and we could just let each other be less lonely in our loneliness. — Charlotte Eriksson

ABNER Marsh had a mind that was not unlike his body. It was big all around, ample in size and capacity, and he crammed all sorts of things into it. It was strong as well; when Abner Marsh took something in his hand it did not easily slip away, and when he took something in his head it was not easily forgotten. He was a powerful man with a powerful brain, but body and mind shared one other trait as well: they were deliberate. Some might even say slow. Marsh did not run, he did not dance, he did not scamper or slide along; he walked with a straightforward dignified gait that nonetheless got him where he wanted to go. So it was with his mind. Abner Marsh was not quick in word or thought, but he was far from stupid; he chewed over things thoroughly, but at his own pace. — George R R Martin

When a poem says something that could not have been said in any other way, in music, prose, sculpture, movement or paint, then it is poetry. — Sybil Marshall

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. — Maya Angelou

Every so often I'll hear writers say that there are other writers they would read if for no other reason than to marvel at the skill with which they can put together the sort of sentences that move us to read closely, to disassemble and reassemble them, much the way a mechanic might learn about an engine by taking it apart. — Francine Prose

Elmore Leonard's Ten Rules of Writing
1. Never open a book with weather.
2. Avoid prologues.
3. Never use a verb other than "said" to carry dialogue.
4. Never use an adverb to modify the verb "said" ... he admonished gravely.
5. Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
6. Never use the words "suddenly" or "all hell broke loose."
7. Use regional dialect, patois, sparingly.
8. Avoid detailed descriptions of characters.
9. Don't go into great detail describing places and things.
10. Try to leave out the part that readers tend to skip.
My most important rule is one that sums up the 10.
If it sounds like writing, I rewrite it. — Elmore Leonard

I do love writing prose interspersed with the poetry of other people. Their rhythms break into my prose and create a connection. — Pattiann Rogers

The bed we loved in was a spinning world
of forests, castles, torchlight, clifftops, seas
where we would dive for pearls. My lover's words
were shooting stars which fell to earth as kisses
on these lips; my body now a softer rhyme
to his, now echo, assonance; his touch
a verb dancing in the centre of a noun.
Some nights, I dreamed he'd written me, the bed
a page beneath his writer's hands. Romance
and drama played by touch, by scent, by taste.
In the other bed, the best, our guests dozed on,
dribbling their prose. My living laughing love -
I hold him in the casket of my widow's head
as he held me upon that next best bed.

- Anne Hathaway — Carol Ann Duffy

The Complete Work is essentially dramatic, thought it takes different forms - prose passages in this first volume, poems and philosophies in other volumes. It's the product of the temperament I've been blessed or cursed with - I'm not sure which. All I know is that the author of these lines (I'm not sure if also of these books) has never had just one personality, and has never thought or felt except dramatically - that is, through invented persons, or personalities, who are more capable than he of feeling what's to be felt. — Fernando Pessoa

See how weak prose is ... Presently I shall go to a bar and there one or two poets will speak to me and I to them and we will try to destroy each other or attract each other and nothing will happen because we will be speaking in prose. — Jack Spicer

In description words adhere to certain objects, and have the effect on the sense of oysters, or barnacles. — William Carlos Williams

In getting from Windsor to Detroit there is a choice between a free tunnel and a toll bridge, which turned out to be a short ride for a dollar, which I mentioned to the toll-collector who said, 'One of those things,' impelling me to remark to my cousin, 'Almost everything said by people one sees for only an instant is something like poetry. Precise, incisive, and just right, and the reason seems to be that there isn't time to talk prose. This suggests several things, the most important of which is probably that a writer ought not to permit himself to feel that he has all the time in the world in which to write his story or play or novel. He ought to set himself a time-limit, and the shorter the better. And he ought to do a lot of other things while he is working within this time-limit, so that he will always be under pressure, in a hurry, and therefore have neither the inclination nor the time to be fussy, which is the worst thing that happens to a book while it's being written. — William, Saroyan

I do three drafts handwritten and then it's typed up ... They are different from each other, they are hopefully improvements in the sense you're going back over something. The first time you write it, it's the first thing that you can think. The second time you're trying to shape the dialogue, helping the characters. The third time you're doing it because you want the words to sound nice, hopefully making the prose better, making it more fun to read, making the jokes funnier and the scary bits scarier. — Clive Barker

Those who would like to become writers attend courses on writing poetry and prose and analyze their own work and that of other writers in development. Teachers teach them that talent is not required and that anyone, who wants to be a writer, can do it if they only master the technique of writing and master the formulas of the genre that they choose. With a little brain storming ideas written on cards, as well as designs and plans on the table, one can even write a novel in a month. There is no secret; the whole secret is in the technique, a little research, and the rest is solved by form, according to a formula, in which it is all nicely wrapped up and packaged.
And so, a bestseller is born. — Dejan Stojanovic

Because I write a book a year, I always want to do one other project every year that's stimulating in a different way. It means you can be working but not using up your prose juice, you know? — Denise Mina

The best memoirs - like This Boy's Life, or Crazy Brave [by Joy Harjo], for instance - bring you through a private river of storytelling that joins a major ocean of human struggle and joy. The act of enunciation - the forms and strategies of storytelling - are every bit as literarily serious as they are in poetry or other prose forms. — Lidia Yuknavitch

My own conscious ideal has been to delude the reader into accepting an impossibility, or series of impossibilities, by means of a sort of verbal black magic, in the achievement of which I make use of prose-rhythm, metaphor, simile, tone-color, counter-point, and other stylistic resources, like a sort of incantation. — Clark Ashton Smith

Prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose. — Walter Savage Landor

The only way to increase it is to cultivate your own garden. And the only thing that will help you is poetry, which is the most concentrated form of style ... I don't care how clever the other professor is, one can't raise a discussion of modern prose to anything above tea-table level. — F Scott Fitzgerald

She knew that the dead hid pieces of themselves in the world. They buried organs in the living. They stuffed memories into trees and clouds and other innocuous things. — Lauren DeStefano

Autobiographical writings, essays, interviews, various other things ... All the non-fiction prose I wanted to keep, that was the idea behind this collected volume, which came out about few years ago. I didn't think of Winter Journal, for example, as an autobiography, or a memoir. What it is is a literary work, composed of autobiographical fragments, but trying to attain, I hope, the effect of music. — Paul Auster

Isaac Deutscher was best known - like his compatriot Joseph Conrad - for learning English at a late age and becoming a prose master in it. But, when he writes above, about the 'fact' that millions of people 'may' conclude something, he commits a solecism in any language. Like many other critics, he judges Orwell's Nineteen Eighty-Four not as a novel or even as a polemic, but by the possibility that it may depress people. This has been the standard by which priests and censors have adjudged books to be lacking in that essential 'uplift' which makes them wholesome enough for mass consumption. The pretentious title of Deutscher's essay only helps to reinforce the impression of something surreptitious being attempted. — Christopher Hitchens

Aesthetic enthusiasm. Perception of beauty in the external world, or, on the other hand, in words and their right arrangement. Pleasure in the impact of one sound on another, in the firmness of good prose or the rhythm of a good story. Desire to share an experience which one feels is valuable and ought not to be missed. The aesthetic motive is very feeble in a lot of writers, but even a pamphleteer or writer of textbooks will have pet words and phrases which appeal to him for non-utilitarian reasons; or he may feel strongly about typography, width of margins, etc. Above the level of a railway guide, no book is quite free from aesthetic considerations. — George Orwell

However, after 1930 Liddell never competed again in public in a major athletic meeting. Did he ever regret missing the 1928 Olympics and the chance of winning at least another gold medal? Did he lament trading fame and glory for a life of obscurity and hardship? He gave clear and unequivocal answers to these questions when interviewed in Canada at the end of his first furlough in 1932. 'Are you glad you gave your life to missionary work? Don't you miss the limelight, the rush, the frenzy, the cheers, the rich red wine of victory?' probed the interviewer in rather florid prose. 'Oh well, of course it's natural for a chap to think over all that sometimes,' replied Liddell. 'But I'm glad I'm at the work I'm engaged in now. A fellow's life counts for far more for this than the other. Not a corruptible crown, but an incorruptible one, you know. — Julian Wilson

Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover. — Sam Shepard

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. — Malcolm Wilson

Unlike many other places, Hilo is more fascinating on closer acquaintance - so fascinating that it is hard to write about it in plain prose. — Isabella Bird

Anne Hathaway
The bed we loved in was a spinning world
of forests, castles, torchlight, clifftops, seas
where we would dive for pearls. My lover's words
were shooting stars which fell to earth as kisses
on these lips; my body now a softer rhyme
to his, now echo, assonance; his touch
a verb dancing in the centre of a noun.
Some nights, I dreamed he'd written me, the bed
a page beneath his writer's hands. Romance
and drama played by touch, by scent, by taste.
In the other bed, the best, our guests dozed on,
dribbling their prose. My living laughing love -
I hold him in the casket of my widow's head
as he held me upon that next best bed. — Carol Ann Duffy

This is one of the most crucial things that the newcomer needs to know about Barthelme. Though his stuff is sometimes difficult to puncture, and sometimes difficult to follow, while you're finding your way, he's always grinning at you in a warm and very compassionate way. The reader gets the feeling that the author is a nice man. That he knows when he's being difficult and when he's full of shit. Knows how much of this and how much of that you can actually take. He differs from some of his contemporaries, and from many other forgers of new prose styles, in that he doesn't ever give off the impression that he takes himself overseriously, and he seems genuinely to care whether or not his work is being read by you. He is a social writer. A writer who seems to be in the next room, waiting for you to finish and tell him what you thought. — Donald Barthelme

In general, when a novel manipulates its material to conform to the pieties of the day, or alternatively to attack those pieties for no other reason than the visibility such an attack will generate, when its literary tropes are all too familiar, its clever prose reminiscent of other clever prose, then the compass needle is slipping away from true north ... When, on the other hand, the author renounces some easy twist, some expected payoff, to take us into territory we didn't expect but that nevertheless fits with the drift of the story, then the novel gains force and conviction. And when he or she does it again, telling quite a different story that is nevertheless driven by the same urgent tensions, then we are likely moving into the zone of authenticity. — Tim Parks

As Raimbaut dragged a dead man along he thought, 'Oh
corpse, I have come rushing here only to be dragged along by the
heels like you. What is this frenzy that drives me, this mania for
battle and for love, when seen from the place where your staring
eyes gaze and your flung-back head knocks over stones? It's that
I think of, oh corpse, it's that you make me think of: but does anything
change? Nothing. No other days exist but these of ours
before the tomb, both for us the living and for you the dead. May
it be granted me not to waste them, not to waste anything of what
I am, of what I could be: to do deeds helpful to the Frankish cause:
to embrace, to be embraced by, proud Bradamante. I hope you
spent your days no worse, oh corpse. Anyway to you the dice have already shown their numbers. For me they are still whirling in the
box. And I love my own disquiet, corpse, not your peace. — Italo Calvino

Writing isn't generally a lucrative source of income; only a few, exceptional writers reach the income levels associated with the best-sellers. Rather, most of us write because we can make a modest living, or even supplement our day jobs, doing something about which we feel passionately. Even at the worst of times, when nothing goes right, when the prose is clumsy and the ideas feel stale, at least we're doing something that we genuinely love. There's no other reason to work this hard, except that love. — Melissa Scott

I often find that when a ruthless editor forces me to trim an article to fit into a certain number of column-inches, the quality of my prose improves as if by magic. Brevity is the soul of wit, and of many other virtues in writing. — Steven Pinker

I think Lindsay Kemp really introduced me to the work of Jean Genet, and through that, I kind of kept re-educating myself about other prose writers and poets. — David Bowie

The trouble with this kind of Hegelian prose is that the reader is at first amused by what seem to be harmless metaphors, and soon the metaphors are being used as if they were observable historical tendencies and aesthetic phenomenon, and next the metaphor becomes a stick to castigate those who have other tastes, and other metaphors. — Pauline Kael

It could be yesterday
when I was less in love
I think
For I didn't see you in the mirror
behind me
while getting dressed.
The way your hands couldn't stay away
and our bodies always found their ways back to each other
as if they were meant to be together
Close.

But then it was today and I saw you
again
in the mirror
behind me while getting dressed

So I go to sleep tonight
alone
without actually falling asleep because I'm scared of the moment I will wake up
and realise it was just a dream
You're actually gone.

Now all I can do is get through to another tomorrow
hoping that I will be less in love
again
Like yesterday

But not today.
I was never really well with things at all. — Charlotte Eriksson

We are difficult. Human beings are difficult. We're difficult to ourselves, we're difficult to each other. And we are mysteries to ourselves, we are mysteries to each other. One encounters in any ordinary day far more real difficulty than one confronts in the most "intellectual" piece of work. Why is it believed that poetry, prose, painting, music should be less than we are? Why does music, why does poetry have to address us in simplified terms, when if such simplification were applied to a description of our own inner selves we would find it demeaning? — Geoffrey Hill

I find that the most difficult thing in prose narrative is linking one thing with the other. The link might just be a sentence, or even a word. It sums up what has gone before and prepares one for what is to come. — V.S. Naipaul

The lobby of the Nelson Hotel always smells of the river
it's in the pores of the place
but this evening the smell is heavier than usual. It's a smell that makes us think of bad ideas, blown investments, forged checks, deteriorating health, stolen office supplies, unpaid alimony, empty promises, skin tumors, lost ambition, abandoned sample cases filled with cheap novelties, dead hope, dead skin, and fallen arches.
This is the kind of place you don't come to unless you've been here before and all your other options are pretty much foreclosed. It's a place where men who left their families two decades before now lie on narrow beds with pee-stained mattresses, coughing and smoking cigarettes. — Stephen King

Oftentimes
when I read a book,
I want to savor
each word,
each phrase,
each page,
loving the prose
so much,
I don't want it
to end.

Other times
the story pulls me in,
and I can hardly
read fast enough,
the details flying by,
some of them lost
because all that matters
is making sure
the character
is all right
when it's over. — Lisa Schroeder

Invisible prose only!" rules out the sparkling style of [writers] ... For [whom] vivid prose, and the visionary mind it evinces, rich with speculation, insight, and subjectivity, is the craft and offers a unique caliber of truth. Is there any other art form one would praise by saying it's "invisible"? By definition, art transcends the ordinary, calls attention to itself, and offers virtuosity as its calling card. One that makes it possible to do what metaphor does so well: illuminate what can't be wholly understood. — Diane Ackerman

I don't feel when I'm writing that I'm drawing from any other writer, but of course I must be. The writers I've admired have been not so very different from myself: Evelyn Waugh, for example, that kind of crystalline prose. And I've always admired W. Somerset Maugham more than any other writer. — Charles McCarry

Well-wrought poems and works of imaginative literature can do for us what stone-cold prose can never do. They can help us grasp the full dimension of ways of life other than our own. — James W. Sire

What judgment I had increases rather than diminishes; and thoughts, such as they are, come crowding in so fast upon me, that my only difficulty is to choose or reject; to run them into verse or to give them the other harmony of prose. — John Dryden

The Grim Reaper isn't grim at all; he's a life-saver. He isn't grim because he isn't anything ... he is nothing. And nothing is a hell of a lot better than anything. So long, boys. — Jack Kerouac Atop An Underwood Early Stories And Other Writings

What if it tempt you toward the flood, my lord?
Or to the dreadful summit of the cliff
That beetles o'er his base into the sea,
And there assume some other horrible form
Which might deprive your sovereignty of reason
And draw you into madness? Think of it.
[The very place puts toys of desperation,
Without more motive, into every brain
That looks so many fathoms to the sea
And hears it roar beneath.] — William Shakespeare

Why be bothered with other people's set-ups? it only leads to torture. — Bob Dylan

Who would you rather live with, a bunch of bonobos feeling good? Or chimpanzees eating each other's babies? Or humans waterboarding each other and destroying the planet? — Francine Prose

The assignment was a two-page essay, in Greek, on any epigram of Callimachus that we chose. I'd done only a page and I started to hurry through the rest in impatient and slightly dishonest fashion, writing out the English and translating word by word. It was something Julian asked us not to do. The value of Greek prose composition, he said, was not that it gave one any particular facility in the language that could not be gained as easily by other methods but that if done properly, off the top of one's head, it taught one to think in Greek. One's thought patterns become different, he said, when forced into the confines of a rigid and unfamiliar tongue. Certain common ideas become inexpressible; other, previously undreamt-of ones spring to life, finding miraculous new articulation. — Donna Tartt

There were two books I remember changing my life as a introverted, bookish 14 year old. The Fountainhead by Ayn Rand and The Lord of the Rings by JRR Tolkien. One was set in a fantastic world, populated by outlandish characters,tired prose, foul monsters, evil incarnate and a message about losing one's humanity. The other book was about hobbits. — Christopher Odell Homsley

Prose fiction is something you build up from twenty-six letters and a handful of punctuation marks, and you, and you alone, using your imagination, create a world, and people it and look out through other eyes. — Neil Gaiman

It was quite a beautiful thing, the way we simply just came to be, with no effort or trying and slowly we found each other's hands in the dark. No chains or promises, just a simple sign of hope
that things will go on and get better
and that things and people and views are still out there, yet to be found. — Charlotte Eriksson

But like all beautiful faces Emily's made you believe that its possessor was a better person than she was. It allowed her to pass for stoical when she was petrified, and mysterious and aloof when she was so filled with self-doubt that she bought presents for other people when it was her birthday, framed most of her conversation in terms of apology and regret, and for all her talent could no longer manage to string twenty-five paragraphs fo prose together to make a short story. — Michael Chabon

I wish to God," said Gideon with mild exasperation, "that you'd talk - just once - in prose like other people. — Dorothy Dunnett

Prose - it might be speculated - is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard. The one is presumably articulate and social, a shared language, the voice of "communication"; the other is private, allusive, teasing, sly, idiosyncratic as the spider's delicate web, a kind of witchcraft unfathomable to ordinary minds. — Joyce Carol Oates

For the prose artist the world is full of other people's words, among which he must orient himself and whose speech characteristics he must be able to perceive with a very keen ear. He must introduce them into the plane of his own discourse, but in such a way that this plane is not destroyed. — Mikhail Bakhtin

When they had arranged their blankets the boy lowered the lamp and stepped into the yard and pulled the door shut behind, leaving them in profound and absolute darkness.
No one moved. In that cold stable the shutting of the door may have evoked in some hearts other hostels and not of their choosing. The mare sniffed uneasily and the young colt stepped about. Then one by one they began to divest themselves of their outer clothes, the hide slickers and raw wool serapes and vests, and one by one they propagated about themselves a great crackling of sparks and each man was seen to wear a shroud of palest fire. Their arms aloft pulling at their clothes were luminous and each obscure soul was enveloped in audible shapes of light as if it had always been so. The mare at the far end of the stable snorted and shied at this luminosity in beings so endarkened and the little horse turned and hid his face in the web of his dam's flank. — Cormac McCarthy

The prose," Robespierre said. "It's so clean, no conceits, no show, no wit. He means every word. Formerly, you see, he meant every other word. That was his style. — Hilary Mantel

There is probably no finer prose writer alive in Britain now, no-one better at making a sentence, no-one better at descriptive writing, no-one who can get so close to the vividness of other peoples interior selves. — Linda Grant

I complain a lot. That's one way of coping. But I'm in a profession where nobody tells you to quit. No board of other partners tells you it's time to get your gold watch, and no physical claim is made on you like an athlete or an actress. So I try to plug along on the theory that I can still do it. I still keep trying to produce prose, and some poetry, in the hope that I can find something to say about being alive, this country, but generally the human condition. — John Updike

The street is still shut as we step into the molten-gold atmosphere of mid-afternoon. The houses face each other across the passages like armies of an ancient Arabian battlefield ... .We narrow our eyes against the glare. Beating their wings, the birds too are leaving the trees for the mosque. The leaves hang like limp hands from the branches. We try to think of the cool blue river and, turning around, glance towards where the river wets the horizon. But the river, too, seems helpless before the insanity of the sun, lying like an exhausted lizard at the end of the street — Nadeem Aslam

Every country in the world loved the folklore of the West
the music, the dress, the excitement, everything that was associated with the opening of a new territory. It took everybody out of their own little world. The cowboy lasted a hundred years, created more songs and prose and poetry than any other folk figure. The closest thing was the Japanese samurai. Now, I wonder who'll continue it. — John Wayne

Captain Harvile: Poor Phoebe, she would not have forgotten him so soon. It was not in her nature.
Anne Elliot: It would not be in the nature of any woman who truly loved.
Captain Harvile: Do you claim that for your sex?
Anne Elliot: We do not forget you as soon as you forget us. We cannot help ourselves. We live at home, quiet, confined, and our feelings prey upon us. You always have business of some sort or other to take you back into the world.
Captain Harvile: I won't allow it to be any more man's nature than women's to be inconstant or to forget those they love or have loved. I believe the reverse. I believe ... Let me just observe that all histories are against you, all stories, prose, and verse. I do not think I ever opened a book in my life which did not have something to say on women's fickleness.
Anne Elliot: But they were all written by men. — Jane Austen

Literature supplements the lives of people and enables us to feel connected with the world. Shared stories blunt a sense of tragic aloneness, and endow us with the tools to understand our humanness. Reading about the lives of other people acquaints us with the hardships of other people. The authorial voices of narrative prose express our shared feelings of deprivation — Kilroy J. Oldster

I'm a poetry-skipper myself. I don't like to boast, but I have probably skipped more poetry than any other person of my age and weight in this country - make it any other two persons. This doesn't mean that I hate poetry. I don't feel that strongly about it. It only means that those who wish to communicate with me by means of the written word must do so in prose. — Will Cuppy

T. S. Eliot and Jean-Paul Sartre, dissimilar enough as thinkers, both tend to undervalue prose and to deny it any imaginative function. Poetry is the creation of linguistic quasi-things; prose is for explanation and exposition, it is essentially didactic, documentary, informative. Prose is ideally transparent; it is only faute de mieux written in words. The influential modern stylist is Hemingway. It would be almost inconceivable now to write like Landor. Most modern English novels indeed are not written. One feels they could slip into some other medium without much loss. It takes a foreigner like Nabokov or an Irishman like Beckett to animate prose language into an imaginative stuff in its own right. — Iris Murdoch

A breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up towards the frosted wedding-cake of the ceiling, and then rippled over the wine-coloured rug, making a shadow on it as wind does on the sea. — F Scott Fitzgerald

And perhaps, I'm a Tuesday night and you're a Wednesday morning the way we'll never even notice how we blend into each other. — Danabelle Gutierrez

But to me, each revision of the document simply showed how far the initial Flevel implementation had progressed. Those parts of the language that were not yet implemented were still described in free-flowing flowery prose giving promise of unalloyed delight. In the parts that had been implemented, the flowers had withered; they were choked by an undergrowth of explanatory footnotes, placing arbitrary and unpleasant restrictions on the use of each feature and loading upon a programmer the responsibility for controlling the complex and unexpected side-effects and interaction effects with all the other features of the language. — C.A.R. Hoare

The advent of the internet has made so many things possible. Self- published recreational journalism has always been around; but back when you had to at least learn to run a mimeograph, and you had to pay postage to distribute your deathless prose, people who didn't actually have much to say for themselves found other hobbies — Teresa Nielsen Hayden

I'm being explicit about really horrifying experiences in my life, but my hope has always been to be responsible as an artist and to avoid indulging in my misery, or to come off as an exhibitionist. I don't want to make the listener complicit in my vulnerable prose poem of depression, I just want to honor the experience. I'm not the victim here, and I'm not seeking other peoples' sympathy. I don't blame my parents, they did the best they could. — Sufjan Stevens

According to my present theme the writer of imagination would attain closest to the conditions of music not when his words are dissassociated from natural objects and specified meanings but when they are liberated from the usual quality of that meaning by transportation into another medium, the imagination. — William Carlos Williams

Insofar as craft and poetics in a poem have a politics, I wanted to avoid that brittle enjambed-prose-sentence-lyric verse, where you have standard sentences snapped off and scattered decoratively across the page (which I might go out on a limb and say was characteristic of some leftist poets, Beat poets, street poets and populist poets of the 70s and 80s - all of whom I basically view as comrades, I should probably say, to this day) and on the other hand I also wanted my poetics to operate differently than those more right-wing academics - in practice - even if in their poems or statements they proclaim public leftist views or ideas - they remain academic poets, operating in elite university-supported circles, institutionalized and reading before institutional audiences, awarding grants and awards to each other, sitting on each other's grants panels, awards and tenure committees, as Philip Levine admitted in an interview in Don't Ask, 'giving prizes to friends. — Sesshu Foster

Was that - did she just grin at me? To me? A moment of stillness in this moment of pause. Without speaking, we let our gazes wander slow, groping to confirm relief in the other. There's a subdued excitement for the oncoming sharing of whatever's waiting for us behind that heavy iron door, exclusive - two solitary embers, isolated in their separate pits, far away but fanned by the same wind, the same night, alone with the night, their respective camps all gone to sleep, flaring softly cradled calling, out against the great dark backdrop of the great unknown. — Patrick Bryant

I was born left-handed, but I was made to use my other hand. When I was writing 'Famished Road,' which was very long, I got repetitive stress syndrome. My right wrist collapsed, so I started using my left hand. The prose I wrote with my left hand came out denser, so later on I had to change it. — Ben Okri

What is above all needed is to let the meaning choose the word, and not the other way around. In prose, the worst thing you can do with words is to surrender to them. — George Orwell

There must be a connection between the lust for power and impotentia coeundi. I liked Marx, I was sure that he and his Jenny had made love merrily. You can feel it in the easy pace of his prose and in his humor. On the other hand, I remember remarking one day in the corridors of the university that if you screwed Krupskaya all the time, you'd end up writing a lousy book like Materialism and Empiriocriticism. — Umberto Eco

My aim is to place cinema among the other art forms. To put it on a par with music, poetry, prose, etc. — Andrei Tarkovsky

In song the words tend to lose their significance, do often lose it, while at the other extreme, in current prose it is the musical value that tends to disappear - so that verse stands symmetrically, as it were, between song, on the one hand, and prose on the other - and is thus admirably and delicately balanced between the sensual and the intellectual power of language. — Paul Valery

I see the eight of us within our "Secret Annex" as if we were a little piece of blue heaven, surrounded by black, black rain clouds. The round, clearly defined spot where we stand is still safe, but the clouds gather more closely about us and the circle which separates us from the approaching dangers closes more and more tightly. Now we are so surrounded by danger and darkness that we bump against each other, as we search desperately for a means of escape. We all look down below, where people are fighting each other, we look above, where it is quiet and beautiful, and meanwhile we are cut off by the great dark mass. — Francine Prose

Angela had never really got on with modern poetry. Even stuff like Seamus Heaney, Death of a Naturalist and the other book. He seemed such a lovely man and she really did try, but it sounded like prose you had to read very slowly. Old stuff she understood. Rum-ti-tum. Now sleeps the crimson petal, now the white ... Dirty British coaster with a salt-caked smoke stack ... Something going all the way back. Memorable words, so you could hand it down the generations. But free verse made her think of free knitting or free juggling. This, for example. She extracted a book at random. Spiders by Stanimir Stoilov, translated by Luke Kennard. She flipped through the pages ... the hatcheries of the moon ... the earth in my father's mouth. — Mark Haddon

In prose fiction the freedom to work honestly exists, although you may have to fight for it. In those other areas of literature, I mean drama, there is only silence. That sort of aesthetic integrity does not exist in radio and television, and seldom on film. — James Kelman

A man cannot impart the true feeling of things to others unless he himself has experienced what he is trying to tell of. — Jack Kerouac

Reading the book now means that one can, if one wants, play Fantasy Literature
match writers off against each other and see who won over the long haul. Faulkner or Henry Green? I reckon the surprise champ was P.G. Wodehouse, as elegant and resourceful a prose stylist as anyone held up for our inspection here ... he has turned out to be as enduring as anyone apart from Orwell. Jokes, you see. People do like jokes.
(Hornby's thoughts after reading "Enemies of Promise" by Cyril Connolly) — Nick Hornby

Each of these passages has faults of its own, but, quite apart from avoidable ugliness, two qualities are common to all of them. The first is staleness of imagery; the other is lack of precision. The writer either has a meaning and cannot express it, or he inadvertently says something else, or he is almost indifferent as to whether his words mean anything or not. This mixture of vagueness and sheer incompetence is the most marked characteristic of modern English prose, and especially of any kind of political writing. As soon as certain topics are raised, the concrete melts into the abstract and no one seems able to think of turns of speech that are not hackneyed: prose consists less and less of words chosen for the sake of their meaning, and more and more of phrases tacked together like the sections of a prefabricated hen-house. — George Orwell

I am young now and can look upon my body and soul with pride. But it will be mangled soon, and later it will begin to disintegrate, and then I shall die, and die conclusively. How can we face such a fact, and not live in fear? — Jack Kerouac