A Quote by Forrest Gander

In mauve sea-orchids as in her striking earlier book Guardians of the Secret, Lila Zemborain brings into relationship the viscera of the body and the spill of the universe in tense compositions that blur distinctions between lyric and prose poetry, between science and eros.
'Everything beautiful occurs when the body / is suspended,' Helena Mesa quotes a performance artist who hangs his own pierced body in the air. Mesa's poems are artfully suspended between lyric and narrative, between humans and animals, between Latin America and the U.S., between desire and the difficulty of its fulfillment. Horse Dance Underwater is an inventive, musical, and powerful debut.
I like to move around in the landscape between poetry and prose, between the lyrical and the narrative.
I stare at her chest. As she breathes, the rounded peaks move up and down like the swell of waves, somehow reminding me of rain falling softly on a broad stretch of sea. I'm the lonely voyager standing on deck, and she's the sea. The sky is a blanket of gray, merging with the gray sea off on the horizon. It's hard to tell the difference between sea and sky. Between voyager and sea. Between reality and the workings of the heart.
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.
I don't write toward a genre, and I try not to make claim to a genre after a book is published. That said, The Guardians isn't poetry. It's prose.
Eros is an issue of boundaries. He exists because certain boundaries do. In the interval between reach and grasp, between glance and counterglance, between ‘I love you’ and ‘I love you too,’ the absent presence of desire comes alive. But the boundaries of time and glance and I love you are only aftershocks of the main, inevitable boundary that creates Eros: the boundary of flesh and self between you and me. And it is only, suddenly, at the moment when I would dissolve that boundary, I realize I never can.
The angels as the guardians of men are set over men as instructors and monitors. This shows the relationship that is to exist between them. Man's attitude is to be one of obedience and subjection. He is to follow the lead of the angels, and consequently some reverence is already implied in the very relationship that exists between man and angel.
To be creative means to connect. It's to abolish the gap between the body, the mind and the soul, between science and art, between fiction and nonfiction.
The gap between verse and poetry is enormous. Between good poetry and good prose the gap is much narrower
Science means constantly walking a tightrope between blind faith and curiosity; between expertise and creativity; between bias and openness; between experience and epiphany; between ambition and passion; and between arrogance and conviction - in short, between an old today and a new tomorrow.
The body and mind are one. When the intimate relationship between mind and body is disrupted, aging and entropy accelerate. Restoring mind/body integration brings about renewal. Through conscious breathing and movement techniques, you can renew the body/mind and reverse the aging process.
It's hard to tell the difference between sea and sky, between voyager and sea. Between reality and the workings of the heart.
I do think there's a relationship between a book and a reader that's more intimate, in many ways, than the relationship between an audience member and a play - just by the nature of it being an object that you can have in bed with you and that you can keep and page through.
There were several points where I would kind of turn to the book and say, "Get thee behind me." I don't think real novelists do that. But I make a distinction between prose that's very efficiency-minded (like, the minimum I can get away with), versus loosening the screws and letting the words spill out beautifully and so on.
When my body is covered and disappears, it's not about the relationship between me and the wall, but the relationship between me as an individual and those slogans which are used to fool the public.
My poetry is not lyric. The epigrams are lyric because they come from my youthful period of lyricism, but my other poetry is not lyric.
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