A Quote by John Cheever

A page of good prose remains invincible. — © John Cheever
A page of good prose remains invincible.
For me a page of good prose is where one hears the rain. A page of good prose is when one hears the noise of battle.... A page of good prose seems to me the most serious dialogue that well-informed and intelligent men and women carry on today in their endeavor to make sure that the fires of this planet burn peaceably.
In general, I would think that at present prose writers are much in advance of the poets. In the old days, I read more poetry than prose, but now it is in prose where you find things being put together well, where there is great ambition, and equal talent. Poets have gotten so careless, it is a disgrace. You can’t pick up a page. All the words slide off.
I am interested in the confines of the page and busting through/off the page as well. A writer must let go of the line when writing prose poems, which brings its own pleasures.
... the structure of a page of good prose is, analyzed logically, not something frozen but the vibrating of a bridge, which changes with every step one takes on it.
For me, a page of good prose is where one hears the rain and the noise of battle. It has the power to give grief or universality that lends it a youthful beauty.
Poetry, I thought then, and still do, is a matter of space on the page interrupted by a few well-chosen words, to give them importance. Prose is a less grand affair which has to stretch to the edges of the page to be convincing.
Cartooning is completely different from other media: it is closely related to film and prose, other narrative forms, but the skills needed to realize a story are very different, and include not only drawing and writing dialogue and narration, but graphic design and the ability to depict time passing visually. It's a whole suite of skills that has to go into making a comics page, skills that are quite distinct from those that go into writing a page of prose, or making a film.
I don't write out of fear. I write out of a strong urge to meet death on its own eternal terms, because the fact is that if you write as little as a page of prose-even bad prose-that is eternal.
Value is the most invincible and impalpable of ghosts, and comes and goes unthought of, while the visible and dense matter remains as it was.
The definition of a page-turner really aught to be that this page is so good, you can't bear to leave it behind, but then the next page is there and it might be just as amazing as this one.
Good prose almost always requires both showing and telling, scenes and summary, the two basic components of creative prose.
Every good that you do, every good that you say, every good thought you think, vibrates on and on and never ceases. The evil remains only until it is overcome by good, but the good remains forever.
Poetry has an indirect way of hinting at things. Poetry is feminine. Prose is masculine. Prose, the very structure of it, is logical; poetry is basically illogical. Prose has to be clear-cut; poetry has to be vague - that's its beauty, its quality. Prose simply says what it says; poetry says many things. Prose is needed in the day-to-day world, in the marketplace. But whenever something of the heart has to be said, prose is always found inadequate - one has to fall back to poetry.
If it bothers me on the page, I don't do it. If it attracts me on the page and moves me, makes me think a bit, makes me laugh, makes me cry, I'm interested in it. If it's there on the page, it means it's there and up to me to bring it out. I have done some films along the way that have been screwed up and not as good as they read. Some films that are not that good on the page turn into good movies. So I'm fallible is what I'm saying.
Words in prose ought to express the intended meaning; if they attract attention to themselves, it is a fault; in the very best styles you read page after page without noticing the medium. Works of imagination should be written in very plain language; the more purely imaginative they are, the more necessary it is to be plain.
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.
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