Writing Poetry, Prose
And Poetic Prose
In writing books of poetry mixed with prose, there are reasons I do what I do, more than a reason, a goal—let me explain: the poet is usually able to transcend the particularities of a story, without writing a story, which poetry being of many elements, one is that it is a story, in essence a very short story, one that I end up questioning and stretching out in my own personal life—and trying to find the human nature in that part of life: if that makes sense. In short, psychology and philosophy and economic conditions and political issues are all mingled with profound reflections, imaginations, sometimes to make a point with complexity as I write (although I try to simplify things, so I do it with poetry and prose, instead of density and complexity)—at the same time, poetry cannot do certain things, so we must depend on something else, lest we be helpless at sea.
In this respect the short story, notes, articles (or perhaps even a novelette, or novel—and in my novels I’ve used poetry, in this case, just the opposite) or the variety of one or the other, must be written to take some of the attributes poetry cannot give, which will give the relations of man—or fill the gap for man along with: fate, imagination and his dreams that poetry cannot fill in its present form. It will take the mould of this odd form—the conglomeration of all this to give what the modern mind wants to give to the reader, or what my mind wants to give in the case of a number of books I’ve written. Therefore, this is why in many of my books I use—the precious prerogatives of poetry and prose, its freedom and flexibility to get the minutest fragments of mass through the subtle labyrinths to the reader.
Depending on your goal, a third thought, on why I do what I do. Too much time is wasted—for the reader in trying to figure out what the poet is trying to say or do—too often in poetry. Every bone in my body tells me this, and days and hours are precious. I am not sure what the world thinks of this ejecting of old rules for new aloof poetry with prose—or for that matter, poetic prose, and I suppose to be honest, I don’t give a hoot, as long as my poetry can easily fit—and naturally blend, change the reaching into the goals (or story) I wish to grow on solid ground—if that makes sense.
Poetic prose is the middle ground, different than poetry, in that it being different makes it what it is, poetic prose. Looking at it from a different perspective—and people have fought the idea of what exactly is poetic prose—in my simple terms, and perhaps an over suggestion, what poetry cannot deliver, poetic prose can; what prose cannot deliver, poetic prose can. Prose often times uses too much description (and a writer can go in circles—lose the reader’s focus), no longer effecting the reader, whereas poetry can, and poetry often times leaves out too much description, explanations, and tries to get its effect directly out of the emotional part of man, thus—again, having the reader pause, and losing him: the short cut in-between both these writing tools to me is poetic prose. There is a rhythm to poetic prose usually, intensity also, and more clarity than what we may call traditional poetry, and if the poet can, motion. And we have no limit on words, description, explanations, and one can use all the tools in the toolbox, a poet may want to use, likewise a prose writer.
And Poetic Prose
In writing books of poetry mixed with prose, there are reasons I do what I do, more than a reason, a goal—let me explain: the poet is usually able to transcend the particularities of a story, without writing a story, which poetry being of many elements, one is that it is a story, in essence a very short story, one that I end up questioning and stretching out in my own personal life—and trying to find the human nature in that part of life: if that makes sense. In short, psychology and philosophy and economic conditions and political issues are all mingled with profound reflections, imaginations, sometimes to make a point with complexity as I write (although I try to simplify things, so I do it with poetry and prose, instead of density and complexity)—at the same time, poetry cannot do certain things, so we must depend on something else, lest we be helpless at sea.
In this respect the short story, notes, articles (or perhaps even a novelette, or novel—and in my novels I’ve used poetry, in this case, just the opposite) or the variety of one or the other, must be written to take some of the attributes poetry cannot give, which will give the relations of man—or fill the gap for man along with: fate, imagination and his dreams that poetry cannot fill in its present form. It will take the mould of this odd form—the conglomeration of all this to give what the modern mind wants to give to the reader, or what my mind wants to give in the case of a number of books I’ve written. Therefore, this is why in many of my books I use—the precious prerogatives of poetry and prose, its freedom and flexibility to get the minutest fragments of mass through the subtle labyrinths to the reader.
Depending on your goal, a third thought, on why I do what I do. Too much time is wasted—for the reader in trying to figure out what the poet is trying to say or do—too often in poetry. Every bone in my body tells me this, and days and hours are precious. I am not sure what the world thinks of this ejecting of old rules for new aloof poetry with prose—or for that matter, poetic prose, and I suppose to be honest, I don’t give a hoot, as long as my poetry can easily fit—and naturally blend, change the reaching into the goals (or story) I wish to grow on solid ground—if that makes sense.
Poetic prose is the middle ground, different than poetry, in that it being different makes it what it is, poetic prose. Looking at it from a different perspective—and people have fought the idea of what exactly is poetic prose—in my simple terms, and perhaps an over suggestion, what poetry cannot deliver, poetic prose can; what prose cannot deliver, poetic prose can. Prose often times uses too much description (and a writer can go in circles—lose the reader’s focus), no longer effecting the reader, whereas poetry can, and poetry often times leaves out too much description, explanations, and tries to get its effect directly out of the emotional part of man, thus—again, having the reader pause, and losing him: the short cut in-between both these writing tools to me is poetic prose. There is a rhythm to poetic prose usually, intensity also, and more clarity than what we may call traditional poetry, and if the poet can, motion. And we have no limit on words, description, explanations, and one can use all the tools in the toolbox, a poet may want to use, likewise a prose writer.
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