A Quote by Sam Lipsyte
There is nothing quite like the controlled burn of Eugene Marten’s prose. Waste is an exhilarating and unnerving piece of fiction.
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To my mind, the prose in a non-fiction work that's going to endure has to be of the same quality as the prose in a work of fiction that endures.
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.
There is an argument for believing that the entire process of writing a piece of fiction is simply a thinly-controlled and highly-internalised nervous breakdown designed, with a bit of luck, to produce something worthwhile at the end.
For me a page of good prose is where one hears the rain. A page of good prose is when one hears the noise of battle.... A page of good prose seems to me the most serious dialogue that well-informed and intelligent men and women carry on today in their endeavor to make sure that the fires of this planet burn peaceably.
Comedy is like fictional charm. It's the charm of fiction. Or the charisma of fiction. When you meet somebody who's immediately charismatic, you're attracted to that person. And in fiction it's got to come out in either one of two ways: in the prose itself, and you're hooked immediately because you never want to leave such a colorful and penetrating world. Or, it's simply being a funny writer.
Prose gets divided up into fiction and nonfiction and short fiction and long fiction and autobiographical nonfiction and so on. Poetry can do any of those things except with the added definition of intensified formal pressure.
I do, however, feel reasonably strongly the sense that the job of a piece of argumentative scholarly non-fiction is not the same as the job of a piece of fiction.
The thing I get the most [in public] is, 'Hey, Eugene.' You know what I mean? There's no catch phrase like: 'What a week I'm having.' People will actually just say, 'Hey, Eugene' or 'Hi, Eugene.' It's a great thing; they feel that comfortable calling me by my first name. It's not being forward. It depends how you say it. I think they can't help themselves. They think they know me. I find it gratifying.
There is nothing like going on a stage. You are in the saddle, and you've got to ride that horse, and there's nothing more thrilling and exhilarating.
I believe in the runner's high, and I believe that those who are passionate about running are the ones who experience it to the fullest degree possible. To me, the runner's high is a sensational reaction to a great run! It's an exhilarating feeling of satisfaction and achievement. It's like being on top of the world, and truthfully... there's nothing else quite like it!
I was in my senior year of high school when I read 'Notes From Underground' by Dostoyevsky, and it was an exhilarating discovery. I hadn't known up until that moment that fiction could be like that. Fiction could say these things, could be unseemly, could be unsettling and distressing in that particular way, that immediate and urgent way.
The short story feels like the most natural length for prose fiction, or certainly for the kind of ideas and situations I like to encounter.
I'll never be a minimalist. The fact that the prose is more tightly controlled doesn't for a minute mean that it's minimalist. I very much like arcane words and baroque sentence structure.
I'm often a little perplexed, when I read a review of a book, by the quotes that are pulled out as evidence of excellent prose. I don't think great novels are necessarily composed of great prose, or that there's a correlation between beautiful prose and the quality of a work of fiction. A really good, interesting novel will often let a little ugliness get into its words - to create a certain effect, to leave the reader with a certain sense of disorientation.
Herein find fiction full of whimsy, wit, hurt, and terror. Wicked, as in wickedly funny, is in the mix, too, along with a prose style both seductive and sly. Any one of Doug Watson's first collection of stories, The Era of Not Quite, can mend a broken world.
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.
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