A Quote by Jerzy Kosinski

I suppress in my prose any language which calls attention to itself. — © Jerzy Kosinski
I suppress in my prose any language which calls attention to itself.
Humans are so innately hardwired for language that they can no more suppress their ability to learn and use language than they can suppress the instinct to pull a hand back from a hot surface.
My poems and prose are not often in direct conversation with each other, but there's so much crossover - everything that comes out of that crucible of language - that working in poetry and prose is energizing - to me as a writer and to the work itself.
In the French language, there is a great gulf between prose and poetry; in English, there is hardly any difference. It is a splendid privilege of the great literary languages Greek, Latin, and French that they possess a prose. English has not this privilege. There is no prose in English.
Poetry, almost by definition, calls attention to its language and form.
I do not wish to produce prose that draws attention to itself, rather than the world it describes.
French is not a language that lends itself naturally to the opaque and ponderous idiom of nature-philosophy, and Teilhard has according resorted to the use of that tipsy, euphoristic prose-poetry which is one of the more tiresome manifestations of the French spirit.
In the form of the oeuvre, the actual circumstances are placed in another dimension where the given reality shows itself as that which it is. Thus it tells the truth about itself; its language ceases to be that of deception, ignorance, and submission. Fiction calls the facts by their name and their reign collapses; fiction subverts everyday experience and shows it to be mutilated and false.
I call that mind free which jealously guards its intellectual rights and powers, which calls no man master, which does not content itself with a passive or hereditary faith, which opens itself to light whencesoever it may come, which receives new truth as an angel from Heaven.
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.
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.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
All mankind is of one author, and is one volume; when one man dies, one chapter is not torn out of the book, but translated into a better language; and every chapter must be so translated....As therefore the bell that rings to a sermon, calls not upon the preacher only, but upon the congregation to come: so this bell calls us all....No man is an island, entire of itself...any man's death diminishes me, because I am involved in mankind; and therefore never send to know for whom the bell tolls; it tolls for thee.
If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you're dumb and blind.
The language of translation ought never to attract attention to itself.
My plays are made up of long monologues, which is similar to prose working with the language
My plays are made up of long monologues, which is similar to prose working with the language.
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