A Quote by Ursula K. Le Guin

The borderline between prose and poetry is one of those fog-shrouded literary minefields where the wary explorer gets blown to bits before ever seeing anything clearly. It is full of barbed wire and the stumps of dead opinions.
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.
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.
If the story's there for it, if there's a reason for it, then I'm all for it. But if you throw in a barbed wire match just to do a barbed wire match, then it makes no sense to me.
I am fascinated by the engineering. The science of constructing and understanding why it stands. And I am drawn by the madness, the beauty, the theatricality, the poetry and soul of the wire. And you cannot be a wire-walker without mingling those two ways of seeing life.
There was a danger whenever I was on home ground. It was the danger of seeing my life through other eyes than my own. Seeing it as an ever-increasing roll of words like barbed wire, intricate, bewildering, uncomforting—set against the rich productions, the food, flowers, and knitted garments, of other women’s domesticity. It became harder to say that it was worth the trouble.
This is how your heart gets snagged, like a balloon on a barbed-wire fence, this is where pieces of you get torn away.
I have a whole box full of pieces of the Berlin Wall and a heart made from the barbed wire of the Iron Curtain. It's - they're cherished treasures to me now, of course.
Prose is in fact the museum where the dead images of verse are preserved. In 'Notes', prose is 'a museum where all the old weapons of poetry kept.
Yet, it is true, poetry is delicious; the best prose is that which is most full of poetry.
Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quitewell developed civilizations can produce good prose. So don't think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you'll see what I mean.
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.
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.
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.
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.
One can imagine having a procedural rule that anything ambiguous should be treated as the Taj Mahal unless we see that it is labelled "fog". The motorist replies: "What sort of rule is this? Surely the best guarantee I can have that the fog is fog is if I fail to see the sign saying 'fog' because of the fog."
Prose on certain occasions can bear a great deal of poetry; on the other hand, poetry sinks and swoons under a moderate weight of prose.
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