A Quote by Alison Hawthorne Deming
I grow very impatient with prose writers who don't pay attention to the cadence of the sentence. If you start as a poet, you're wooed by the music of language; you want to put that into your practice.
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I like bringing poetry's focus on figurative language and compression into the essay. Of course, the musical properties of language, the cadence of the sentence, are really important to me in prose.
You have to seduce the reader, manipulate their mind and heart, listen to the music of language. I sometimes think of prose as music, in terms of its rhythms and dynamics, the way you compress and expand the attention of a reader over a sentence, the way the tempo pushes you towards an image or sensation. We want an intense experience, so that we can forget ourselves when we enter the world of the book. When you are reading, the physical object of the book should disappear from your hands.
You have to pay attention, like with tours and expenses; you have to factor that all in. You want to play music for the rest of your life, you have to pay attention to all the things. You want to know what's always going on.
I think my prose - mine and that of others - sometimes slips into a cadence or rhythm that can replicate or come close to the music in a wonderful poem, and then it returns to the sound of prose.
I would say that the writers I like and trust have at the base of their prose something called the English sentence. An awful lot of modern writing seems to me to be a depressed use of language. Once, I called it "vow-of-poverty prose." No, give me the king in his countinghouse. Give me Updike.
Pay attention to your friends; pay attention to that cousin that jumps up on the picnic table at the family reunion and goes a little too 'nutty,' you know what I mean? Pay attention to that aunt that's down in the basement that never comes upstairs. We have to pay attention to our friends, pay attention to your family, and offer a hand.
Poetry is so close to music, not just in cadence and sound but in silences. That's why, to me, I can't talk about prose poems. I can talk about poetic prose.
There are some simple maxims which I think might be commended to writers of expository prose. First: never use a long word if a short word will do. So, if you want to make a statement with a great many qualifications, put some of the qualifications in separate sentences. Third: do not let the beginning of your sentence lead the reader to an expectation which is contradicted by the end.
To discover what you really believe, pay attention to the way you act -- and to what you do when things don't go the way you think they should. Pay attention to what you value. Pay attention to how and on what you spend your time. Your money. And pay attention to the way you eat.
If your skin is crawling, pay attention. If something doesn’t feel right, pay attention. If the hairs on the back of your neck prickle, if your gut clenches up, if a wave of wrongness washes over you, if your heart starts beating faster, pay, pay, pay attention. Do not second-guess yourself or rationalize anything that impedes your safety. Our instincts are the animal inside of our humanness, warning us of danger.
Michael Jackson was the biggest star the world has ever seen - he put so much into everything; a lot of attention to detail. I want to do that. I want to pay that kind of attention to detail in everything - in music, visually - all of that.
From the simplest lyric to the most complex novel and densest drama, literature is asking us to pay attention. Pay attention to the frog. Pay attention to the west wind. Pay attention to the boy on the raft, the lady in the tower, the old man on the train. In sum, pay attention to the world and all that dwells therein and thereby learn at last to pay attention to yourself and all that dwells therein.
You have to rise up to that state of thoughtless awareness where you grow spiritually. If you are not in thoughtless awareness, you cannot grow in your spirituality. So it's very important to see where is your attention. Where are you putting your attention? If the attention could be controlled then things will be all right.
People who get implants, it's so depressing, you know... People - I don't know. The route of that, you know, maybe they want more love or attention, or what it is, but they always go for the most obvious place, you know? Here... Well if you really want more attention, why not get them in your eyes? And then move your eyes down to where your nipples used to be, put your breasts up on your head, everybody will pay attention!
Mediocrity is now, as formerly, dangerous, commonly fatal, to the poet; but among even the successful writers of prose, those who rise sensibly above it are the very rarest exceptions.
I am a pretty omnivoracious reader in respect to prose style, but if the prose doesn't have its own music, if the relationship to the sentence seems unconsidered or superficial, I have a really hard time reading the work.
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