I would never write realistic prose. I don't like people who try to write in a poetic style, but in the course of their book abandon it for realism, and weave back and forth like drunkards between the surreal and the real.
There is something about poetry beyond prose logic, there is mystery in it, not to be explained but admired.
I want the concentration and the romance, and the worlds all glued together, fused, glowing: have no time to waste any more on prose.
Yet, it is true, poetry is delicious; the best prose is that which is most full of poetry.
The poet gives us his essence, but prose takes the mold of the body and mind.
Music is more emotional than prose, more revolutionary than poetry. I'm not saying I've got the answers, just a of questions that I don't hear other artists asking.
Poetry is a beautiful way of spoiling prose, and the laborious art of exchanging plain sense for harmony.
One merit of poetry few persons will deny: it says more and in fewer words than prose.
I have always tended toward a lush prose style, but I take care to modulate it from story to story and to strip it down entirely when necessary.
Poetry is fascinating. As soon as it begins the poetry has changed the thing into something extra, and somehow prose can go over into poetry.
A great actor is independent of the poet, because the supreme essence of feeling does not reside in prose or in verse, but in the accent with which it is delivered.
From the reader's view, a poem is more demanding than prose.
The most important tribute any human being can pay to a poem or a piece of prose he or she really loves is to learn it by heart. Not by brain, by heart; the expression is vital.
The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
However, if a poem can be reduced to a prose sentence, there can't be much to it.