A Quote by Franz Wright
The poetic prose that most interests me is that of Henri Michaux.
Related Quotes
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.
That prose is a verse, and verse is a prose; convincing all, by demonstrating plain – poetic souls delight in prose insane
I'd rather call prose poems something else, for clarity - something like "poetic prose," prose that contains a quality of poetry, but not poems.
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.
The more prose I wrote, the more the pendulum swung back toward the middle, merging some poetic sensibilities with the more fundamental elements of creative prose.
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.
To my mind, most prose poems are more prose than poetry. They don't possess most of the qualities of a poem.
Yet poetry, though the last and finest result, is a natural fruit. As naturally as the oak bears an acorn, and the vine a gourd, man bears a poem, either spoken or done. It is the chief and most memorable success, for history is but a prose narrative of poetic deeds.
Good style in prose is always hostage to the precision, speed, and laconic intensity of poetic diction.
When critics are waiting to pounce upon poetic style on exactly the same grounds as if it were prose, the poets tremble.
If you look at capitalism and patriarchy, they're both such hierarchical, competitive, oneupmanship systems. They've trained us all [to think] that power means having all the goods or having the most money or having the most attention or having the most fame. That's not the power that interests me. Actually, the deconstruction of that power is what interests me.
Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quitewell developed civilizations can produce good prose. So don't think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you'll see what I mean.
Certainly for me prose has a dilatory capacity, insofar as I don't trust my abilities in prose. I imagine I could have done the same thing in poetry, but sometimes I feel more fluent in poetry than in prose, and as a consequence perhaps I might pass too quickly by a thing that I might, in prose, have struggled merely to articulate. That struggle creates space, and it seems to me a particular kind of space into which memory flows easily. I suspect I think better in poetry, however.
It has often been observed that the repercussion of poetic language on prose language can be considered a decisive cut of a whip.
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.
For me, prose is never a poem. Because with prose there are so very few tools to create the music. And one of the most important tools missing is the ability to create silences, as you can in poetry by how you fashion the lines and breaks within the lines and stanzas.
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