A Quote by Pattiann Rogers

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.
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's always an added element of a poem when it's read aloud because then you can really hear the rhythm, and the cadence, and even the pronunciation sometimes adds another layer to the poem.
If you have feelings about reading, you feel the rhythm of prose or of a poem like music. It awakens something in your soul and then of course you study, read, you grow up and you begin to understand the message and that is the first step towards understanding life.
My object when writing prose is to write as clearly as possible. I think I know what I'm saying in prose, and I want others to understand it and to be able to restate it.
If there is anything unique about my writing it is the way that I combine poetry and prose, not just on the level of having a poem here, prose there, but that it really is a true amalgam.
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.
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.
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.
To my mind, most prose poems are more prose than poetry. They don't possess most of the qualities of a poem.
Traditionally poetry is written in lines. But the prose poem is the kind of poem that isn't written in lines. It is lyrical prose that uses the tricks of poetry, such as dense imagery. This is a big topic of debate in poetry land. There's no perfect definition.
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.
I used the word 'prose' in the Trans-Siberian in the early Latin sense of prosa dictu. Poem seemed to me too pretentious, too narrow. Prose is more open, popular.
Speech and prose are not the same thing. They have different wave-lengths, for speech moves at the speed of light, where prose moves at the speed of the alphabet, and must be consecutive and grammatical and word-perfect. Prose cannot gesticulate. Speech can sometimes do nothing more.
when a poem says something that could not have been said in any other way, in music, prose, sculpture, movement or paint, then it is poetry.
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.
A prose writer gets tired of writing prose, and wants to be a poet. So he begins every line with a capital letter, and keeps on writing prose.
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