A Quote by Pattiann Rogers
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.
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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.
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.
You don't have to be as good a writer to write a song; it's a very different process to writing straight prose. To learn how to write prose takes a lot of years of practice.
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 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 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.
Prose is like this big block - you write big paragraphs. I feel that when I'm reading and writing, that a prose book is kind of monolithic. But a song is more like a feather or something.
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 do love writing prose interspersed with the poetry of other people. Their rhythms break into my prose and create a connection.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose
My friends tell me that I am an intruder, that I don't really write when I attempt poetry. But those of my friends who write in prose say that I'm no writer when I attempt prose. So really I don't know what to do, I'm in a quandary.
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.
I don't write out of fear. I write out of a strong urge to meet death on its own eternal terms, because the fact is that if you write as little as a page of prose-even bad prose-that is eternal.
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