A Quote by Ron Padgett
I don't do much of anything consciously in writing - in poetry writing, anyway, prose usually being a different matter, of course.
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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.
When you're writing - when I'm writing anyway - I'm writing out of different kinds of preoccupations and obsessions, different forms of drivenness, and so you're really hostage those while writing. I am, anyway. And it's only when you finally take the finished thing out of the furnace that you see what it was that went into the making of the thing.
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.
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.
Poetry is its own medium; it's very different than writing prose. Poetry can talk in an imagistic sense; it has particular ways of catching an environment.
Poetry is its own medium; it's very different than writing prose. Poetry can talk in an imagistic sense, it has particular ways of catching an environment.
If there's anything I'm keen to get better at in my writing, then it's the writing of prose as opposed to the writing of dialogue.
I don't think there's any essential difference, at least for me, between writing poetry and writing prose.
For a long time, I saw writing prose as chewing rocks compared to the velocities of writing 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.
Writing for adults and writing for young people is really not that different. As a reporter, I have always tried to write as clearly and simply as possible. I like clean, unadorned writing. So writing for a younger audience was largely an exercise in making my prose even more clear and direct, and in avoiding complicated digressions.
I started out in life as a poet, I was only writing poetry all through my 20s, it wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels, I liked them.
I started out in life as a poet; I was only writing poetry all through my 20s. It wasn't until I was about 30 that I got serious about writing prose. While I was writing poems, I would often divert myself by reading detective novels; I liked them.
I do love writing prose interspersed with the poetry of other people. Their rhythms break into my prose and create a connection.
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.
Even though I always claimed that I didn't want to write about something - once I wasn't writing fiction, anyway; I think for me the change from fiction to poetry was that in fiction I was writing about something, in poetry I was writing something.
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