Quotes about prose (224 quotes, page 3)

“You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true.”

Ernest Hemingway (1899–1961) American author and journalist

Letter to Bernard Berenson (24 September 1954); published in Ernest Hemingway: Selected Letters 1917–1961 (1981) edited by Carlos Baker
Context: You know that fiction, prose rather, is possibly the roughest trade of all in writing. You do not have the reference, the old important reference. You have the sheet of blank paper, the pencil, and the obligation to invent truer than things can be true. You have to take what is not palpable and make it completely palpable and also have it seem normal and so that it can become a part of experience of the person who reads it.

“Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.”

Ken Kesey (1935–2001) novelist

The Paris Review interview (1994)
Context: Kerouac had lots of class — stumbling drunk in the end, but read those last books. He never blames anybody else; he always blames himself. If there is a bad guy, it’s poor old drunk Jack, stumbling around. You never hear him railing at the government or railing at this or that. He likes trains, people, bums, cars. He just paints a wonderful picture of Norman Rockwell’s world. Of course it’s Norman Rockwell on a lot of dope.
Jack London had class. He wasn’t a very good writer, but he had tremendous class. And nobody had more class than Melville. To do what he did in Moby-Dick, to tell a story and to risk putting so much material into it. If you could weigh a book, I don’t know any book that would be more full. It’s more full than War and Peace or The Brothers Karamazov. It has Saint Elmo’s fire, and great whales, and grand arguments between heroes, and secret passions. It risks wandering far, far out into the globe. Melville took on the whole world, saw it all in a vision, and risked everything in prose that sings. You have a sense from the very beginning that Melville had a vision in his mind of what this book was going to look like, and he trusted himself to follow it through all the way.

Books , World , Way , Sense

“I have suspected that history, real history, is more modest and that its essential dates may be, for a long time, secret. A Chinese prose writer has observed that the unicorn, because of its own anomaly, will pass unnoticed. Our eyes see what they are accustomed to seeing.”

Jorge Luis Borges book Other Inquisitions

Other Inquisitions (1952), The Modesty of History
Context: I have suspected that history, real history, is more modest and that its essential dates may be, for a long time, secret. A Chinese prose writer has observed that the unicorn, because of its own anomaly, will pass unnoticed. Our eyes see what they are accustomed to seeing. Tacitus did not perceive the Crucifixion, although his book recorded it.

Secret , History , Time

“Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse.”

George Eliot book Middlemarch

Prelude
Middlemarch (1871)
Context: Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centring in some long-recognizable deed.

Love , Women , Imagination , Fashion

“She might yet be able to help him to the building of the rainbow bridge that should connect the prose in us with the passion. Without it we are meaningless fragments, half monks, half beasts, unconnected arches that have never joined into a man.”

E.M. Forster book Howards End

Source: Howards End (1910), Ch. 22
Context: She might yet be able to help him to the building of the rainbow bridge that should connect the prose in us with the passion. Without it we are meaningless fragments, half monks, half beasts, unconnected arches that have never joined into a man. With it love is born, and alights on the highest curve, glowing against the grey, sober against the fire. Happy the man who sees from either aspect the glory of these outspread wings. The roads of his soul lie clear, and he and his friends shall find easy-going.

Passion , Help

“I realized I was thinking about fiction two-dimensionally. When I’m writing comics, I’m also visualizing how the story will look on the page—not even always art-wise, but panel-wise, like how a moment will be enhanced dramatically by simply turning a page and getting a reveal. It requires thinking about story in a way I never had to consider when I was writing prose.”

Marjorie M. Liu (1979) American writer

Source: On writing a comic versus a novel in “Marjorie Liu on the Road to Making Monstress” https://www.theatlantic.com/entertainment/archive/2017/09/marjorie-liu-monstress-interview/539394/ in The Atlantic (2017 Sep 14)

Way , Thinking , Art

“If you look at the poems in Prelude, you can identify the later material by identifying the poems with more white space and unexpected line breaks. Grief did that to me and my writing. It exploded my expectations and introduced these blank pockets of deep feeling. My prose writing became more fluid and lyrical…”

Saeed Jones (1985) American poet

On how losing his mother affected his writing in “You and I Have Peril in Common: The Millions Interviews Saeed Jones” https://themillions.com/2019/11/saeed-jones-qa.html in The Millions (2019 Nov 21)

Feeling

“Many great writers inspired me, of course, but inspiration is not the same as a direct influence. I was often stirred by the beauty of great prose, the passion and startling intensity of hard-won truths, which leapt from that creative fire. … For the writer, therefore the reader, fresh truth is exhilarating, even painful truth, as in Kafka or Céline. Isn’t that what good writing finally arrives at? The insights and epigrams of Alexander Pope weren’t clichés when he wrote them, any more than those resounding lines in Shakespeare. They only became dog-eared from overuse.”

Peter Matthiessen (1927–2014) American novelist

The Paris Review interview (1999)

Pain , Beauty , Dogs , Truth

“I don’t think it’s a responsibility, but I certainly think it’s something poetry can do, and I think that poetry has a unique ability to do it because of its self-referential nature and its self-conscious nature. And I mean that in the sense that, in prose, we’re not often as conscious of the language and the operation of language itself. Our focus in on the content, on what is denotatively produced. In poetry we are trained, or at least readers of poetry are trained, to attend to or account for the structures of language as well as what that language conveys.”

Gregory Pardlo (1968) American writer

On if the poet has a responsibility in “‘The language is constructing our ideas more than we are deploying the language’: An interview with Gregory Pardlo” http://gulfcoastmag.org/reviews-and-interviews/art-and-reviews/an-interview-with-gregory-pardlo/ in Gulf Coast Magazine (2019 Jul 17)

Nature , Self-confidence , Thinking , Sense

“The skills I had learned for prose didn’t work in film. Those telling details, they’re completely different. Or the fact of these inner monologues in which you can write a whole book. Whereas prose is teasing out, film is stripping down, concentrating and compacting. I found I could not learn the one while doing the other. So it was a big struggle, actually. It took me years.”

Tsitsi Dangarembga (1959) Zimbabwean author and filmmaker

On adjusting to film writing in “An Interview with Tsitsi Dangarembga: An excerpt” https://brickmag.com/an-interview-with-tsitsi-dangarembga/ in Brick Magazine (December 2012)

Books , Learning

“I chose to rewrite it in poetry because the original Ramayana was in poetry- the fact is, it’s sort of been corrupted into prose. In its original form it was an epic poem rather like the Iliad or works of that sort. Rather than traditional poetry, it was a verse novel, without a traditional structure. What I most wanted to do was to preserve the essential musicality of the lines. Especially as the Ramayana like so many stories, was based on a fundamentally oral tradition.”

Daljit Nagra (1966) British poet, teacher and broadcaster

On reworking the Ramayana in “An Interview With Daljit Nagra” https://www.thebubble.org.uk/culture/literature/an-interview-with-daljit-nagra/ in The Bubble (2014 Sept 17)

Music

“In the famous dispute with the Nominalists, the Realists had a good deal of reason. General ideas are essences. They are our gods: they round and ennoble the most partial and sordid way of living. Our proclivity to details cannot quite degrade our life, and divest it of poetry. The day-laborer is reckoned as standing at the foot of the social scale, yet he is saturated with the laws of the world. His measures are the hours; morning and night, solstice and equinox, geometry, astronomy, and all the lovely accidents of nature play through his mind. Money, which represents the prose of life, and which is hardly spoken of in parlors without an apology, is, in its effects and laws, as beautiful as roses. Property keeps the accounts of the world, and is always moral. The property will be found where the labor, the wisdom, and the virtue have been in nations, in classes, and (the whole life-time considered, with the compensations) in the individual also. How wise the world appears, when the laws and usages of nations are largely detailed, and the completeness of the municipal system is considered! Nothing is left out.”

Ralph Waldo Emerson (1803–1882) American philosopher, essayist, and poet

1840s, Essays: Second Series (1844), Nominalist and Realist

Money , God , Time , Night

“There is something in Poetry beyond Prose-reason; there are Mysteries in it not to be explained, but admired; which render mere Prose-men Infidels to their Divinity.”

Edward Young (1683–1765) English poet

London 1759, p. 28 books.google https://books.google.de/books?id=h1IJAAAAQAAJ&pg=PA28&dq=mysteries
Conjectures on Original Composition (1759)

Men

“I wish our clever young poets would remember my homely definitions of prose and poetry; that is, prose = words in their best order; poetry = the best words in their best order.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

12 July 1827
Table Talk (1821–1834)

Home

“His book has the force of a mob-protest; an outcry from anonymous throats. The wheel turns and turns and it does not matter, one hardly notices that the captain of the company, killed on page 159, is alive again a hundred pages later. It does not matter that every stock situation of the war, suicide, the murder of an officer, the slaughter of prisoners, a vision of Christ, is apportioned to Company K, because the book is not written in any realistic convention. It is the only War-book I have read which has found a new form to fit the novelty of the protest. The prose is bare, lucid, without literary echoes, not an imitation but a development of eighteenth-century prose.”

William March (1893–1954) United States Marine, novelist, short story writer

In a Graham Greene review of the novel Company K for the newspaper The Spectator.

Reading , War , Books , Christ

“Only connect! That was the whole of her sermon. Only connect the prose and the passion, and both will be exalted, and human love will be seen at its height. Live in fragments no longer. Only connect, and the beast and the monk, robbed of the isolation that is life to either, will die.”

E.M. Forster book Howards End

Source: Howards End (1910), Ch. 22

Passion , Love , Life , Making love

“Charlotte Brontë, with all her splendid gift for prose, stumbled and fell with that clumsy weapon in her hands. George Eliot committed atrocities with it that beggar description. Jane Austen looked at it and laughed at it and devised a perfectly natural, shapely sentence proper for her own use and never departed from it. Thus, with less genius for writing than Charlotte Brontë, she got infinitely more said.”

Jane Austen (1775–1817) English novelist

Virginia Woolf, A Room of One's Own (1929), Chapter 4

Nature

“Middle age begins with marriage; for then work and responsibility replace carefree play, passion surrenders to the limitations of social order, and poetry yields to prose.”

Will Durant (1885–1981) American historian, philosopher and writer

Source: Fallen Leaves (2014), Ch. 3 : On Middle Age

Marriage , Age , Passion

“the correct statement would be, not that I disliked poetry, but that I was theoretically indifferent to it. I disliked any sentiments in poetry which I should have disliked in prose; and that included a great deal. And I was wholly blind to its place in human culture, as a means of educating the feelings. But I was always personally very susceptible to some kinds of it.”

John Stuart Mill book Autobiography

'Long before I had enlarged in any considerable degree, the basis of my intellectual creed, I had obtained in the natural course of my mental progress, poetic culture of the most valuable kind, by means of reverential admiration for the lives and characters of heroic persons; especially the heroes of philosophy.'
Autobiography (1873)

Indifference , Personality , Education , Feeling