History meets romance meets suspense! Compelling, original and wildly romantic, Beatriz Williams’ prose is stunning and the plot edge-of-your-seat gripping. OVERSEAS is an absolute triumph—I loved every page.
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.
Yet no one hears his own remarks as prose.
If you know that everything comes from the mind, don't become attached. Once attached, you're unaware. But once you see your own nature, the entire Canon becomes so much prose. It's thousands of sutras and shastras only amount to a clear mind. Understanding comes in midsentence. What good are doctrines? The ultimate Truth is beyond words. Doctrines are words. They're not the Way. The Way is wordless. Words are illusions. . . . Don't cling to appearances, and you'll break through all barriers. . . .
Men will forgive a man anything except bad prose.
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.
In our fine arts, not imitation, but creation is the aim... The details, the prose of nature, he should omit, and give us only the spirit and splendour.
The four great motives for writing prose are sheer egoism, esthetic enthusiasm, historical impulse, and political purpose.
For me, poetry is an evasion of the real job of writing prose.
Why do you always write poetry? Why do you not write prose? Prose is so much more difficult.
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.
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.
I like the way the prose and poetry interact.
Theatre aside, my penchant for the extended monologue began with my reading of Browning's dramatic monologues, in high school. My inclination to adopt the form for prose was confirmed by Richard Howard's book of dramatic monologues, Untitled Subjects.
Revision is not the end of the creative process, but a new beginning. It's a chance not just to clean up and edit, but to open up and discover. The energetic prose comes about from all the energy that went into crafting it, I suppose.
I like a great degree of compression. I like to mix lateral steps with forward ones. I don't want the prose ever to feel simply functional - at least not for any stretch.
I wish my prose to be transparentI don't want the reader to stumble over me; I want him to look through what I'm saying to what I'm describing. I don't want him ever to say, Oh, goodness, how nicely written this is. That would be a failure.
I think the most reliable way to teach it is through reading work aloud over and over. Many prose writers been encouraged to do that, but that might be changing. Denise was the one who taught me to develop my ear. I never knew how to listen to writing until she started reading her work to me.
I'm primarily a poet, so I'd have to say in my case I'd investigate the mystery in poetry in a different way than prose might investigate it, in a way that includes the power of the music of language and maybe more imaginatively in poetry, but I don't really know about better or worse. I guess it depends on the writer.
The older I get, the more I seek to use a plain prose style, concentrating more on story.
Much modern prose is praised for its terseness, its scrupulous avoidance of curlicue, etcetera. But I don't feel the deeper rhythm there. I don't think these writers are being terse out of choice. I think they are being terse because it's the only way they can write.
I didn't mind writing incoherently, up until about 1980, occasionally. But after that, I decided, might as well be articulate. And I found, though, that writing poetry affected my prose to the point where I never again wrote in one draft, and my prose just took longer and longer and longer. It took longer and longer to come up with an acceptable text. And that's probably one of the reasons that my output has slowed down.
In some sense that was a blessing, because it forced me to focus on prose. I feel my narrative voice in prose is more authentically me because I developed it without ever soliciting the advice of anyone else.
I often say that Bernhard, W.G. Sebald, and Javier Marías are my stylistic holy trinity, prose writers who amaze me with their notation of consciousness and voice.
The first book was my first attempt at writing full-length prose.
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