A Quote by Robert Jay Lifton

And I was troubled by the heavy-handed prose of so much psychoanalytic writing, which seemed drowned in its own concepts. — © Robert Jay Lifton
And I was troubled by the heavy-handed prose of so much psychoanalytic writing, which seemed drowned in its own concepts.
Why has it seemed that the only way to protect the environment is with heavy-handed government regulation?
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.
Poetry and prose are of equal importance to me as a reader, and there doesn't seem to be much difference in my own writing.
Moreover he saw a skull floating on the surface of the water and he said unto it: Because you drowned others they drowned you; and those that drowned you will eventually be drowned.
In high school, in 1956, at the age of sixteen, we were not taught "creative writing." We were taught literature and grammar. So no one ever told me I couldn't write both prose and poetry, and I started out writing all the things I still write: poetry, prose fiction - which took me longer to get published - and non-fiction prose.
I have a fondness for writing about precocious, troubled teenagers, who are alienating, but kind of endearing. It's from remembering so clearly that time in my own life. I experienced myself as more dramatically troubled than I was, but I just remember how it felt.
I used to write sonnets and various things, and moved from there into writing prose, which, incidentally, is a lot more interesting than poetry, including the rhythms of prose.
I am not a great fan of serious, heavy writing. I prefer simple, short sentences, light on prose.
When you are in troubled and worried and sick at heart And your plans are upset and your world falls apart, Remember God's ready and waiting to share The burden you find much to heavy to bear-- So with faith, "Let Go and Let GOD" lead your way Into a brighter and less troubled day
When you're writing stuff that's already clotted with neologisms and trying to get across fairly abstruse concepts, you're already putting a heavy burden on the reader.
I was born left-handed, but I was made to use my other hand. When I was writing 'Famished Road,' which was very long, I got repetitive stress syndrome. My right wrist collapsed, so I started using my left hand. The prose I wrote with my left hand came out denser, so later on I had to change it.
Anything over-handed, I do left-handed. Like throwing a ball or serving in tennis. Otherwise, right-handed, like writing and shaving.
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 don't do much of anything consciously in writing - in poetry writing, anyway, prose usually being a different matter, of course.
So much of the effort that goes into writing prose for me is about making sentences that capture the music that I'm hearing in my head. It takes a lot of work, writing, writing, and rewriting to get the music exactly the way you want it to be.
I approach writing a poem in a much different state than when I am writing prose. It's almost as if I were working in a different language when I'm writing poetry. The words - what they are and what they can become - the possibilities of the words are vastly expanded for me when I'm writing a poem.
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