A Quote by Jack Driscoll

I'm always looking for poetry's place in the prose. For that moment, let's say, that arrests time, or that sentence in which the musical matrix or trope, the sounds of the words arranged in a way that heightens perception, a tunefulness that more clearly defines and transfers the feeling I'm after to the reader.
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.
On a more technical level, a story takes a lot of words. And to generate words and phrases and images and so on, that will compel the reader to continue reading - that stand a chance of really grabbing a reader - the writer has to work out of a place of, let's say, familiarity and affection. The matrix of the story has to be made out of stuff the writer really knows about and likes. The writer can't be stretching and (purely) inventing all the time. Well, I can't, anyway.
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.
There is poetry even in prose, in all the great prose which is not merely utilitarian or didactic: there exist poets who write in prose or at least in more or less apparent prose; millions of poets write verses which have no connection with poetry.
Thinking in prose is different. I gained an immense amount of respect for people who write prose, and also felt even more sure that the thinking particular to poetry is essential to my life. I need to think, to explore, to question, in poetry. Without that feeling, I am, in some ultimate way, lost.
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.
a perception of the cosmic unity of this higher level. And a feeling of timelessness, the feeling that what we know as time is only the result of a naive faith in causality - the notion that A in the past caused B in the present, which will cause C in the future, when actually A, B, and C are all part of a pattern that can be truly understood only by opening the doors of perception and experiencing it... in this moment... this supreme moment... this Kairos.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
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.
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.
The reader reads aloud, with a sing-song up … then down … then down again cadence. My mood shifts from merely reluctant to derisive. It’s a tired reading style. I’m sick of it. It attaches more importance to the words than the words themselves—as they’ve been arranged—could possibly sustain, and it gives poets and poetry a bad name.
I think many people (like myself) prefer to read poetry mixed with prose; it gives you more to go by; the conventions of poetry have been getting far off from normal life, so that to have a prose bridge makes reading poetry seem more natural.
I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose = words in their best order; - poetry = the best words in the best order.
'Dreams From My Father' reveals more about Obama than is usually known about political leaders until after they're dead. Perhaps more than it intends, it shows his mind working, in real time, sentence by sentence, in what feels like a private audience with the reader.
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.
Poetry is creative expression; Prose is constructive expression... by creative I mean original. In Poetry the words are born or reborn in the act of thinking... There is no time interval between the words and the thought when a real poet writes, both of them happen together, and both the thought and the word are Poetry.
This site uses cookies to ensure you get the best experience. More info...
Got it!