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Read through the most famous quotes by topic #prose
The supposedly eyewitness authority of the Pseudo-Turpin finds a parallel in another genre in which vernacular prose was pioneered: that of the historical memoir. There were twelfth-century verse histories narrated by authors who had personally participated in the events they describe, such as the Third Crusade. But the Fourth Crusade of 1202-4 saw a switch to prose. This shameful fiasco, in which the crusaders were induced to turn aside from the Holy Land and attack instead the Christian city of Constantinople, inspired two contrasting accounts. Robert de Clari--ignorant of higher-level strategy, but all agog at the splendours of Constantinople--gives a worm's eye view. Geoffroi de Villehardouin, by contrast, has a top diplomat's suave authority and a leader's eye for the aesthetics of war--the splendid sight of a fleet, or the noble heroism of a ruler. For both authors the medium of prose seems to convey the purported authenticity and transparency of lived experience. ↗
He said that he felt that there was a book hidden between us. Some small thing lodged between a rib or a summer. and He wanted to find it. ↗
He left the next morning, searching for a city with light that reminded him of me. He would mail me empty envelopes and boxes, I would take them into my closet, shut the door, and quickly open them. A flash of foreign light would fill the room, but only for a moment. I would whisper ‘this is what we’re like, this is what we’re like.’… ↗
Säjer att jag rymt hit för din skull men ljuger förstås det låter vackrare då ville bara att du skulle ta bort nåldynan från badrummet ställa in kanske mjölk i kylen låtsas att vi lever lika mycket båda två stängde dörren för längesen om mej och du bänder loss brädorna men kommer inte in du förstår älskling jag har kilat fast alla öppningar med frusna tårar avbrutna morrhår död hud och blodiga kräkningar har byggt berg utanför av uppsprättade drömmar och klätt in hela trappuppgången i tomhet och du kommer aldrig igenom man kommer aldrig igenom men inimej kom inimej och där nånstans låt mej liksom leva bara ↗
The great error consists in supposing that poetry is an unnatural form of language. We should all like to speak poetry at the moment when we truly live, and if we do not speak it, it is because we have an impediment in our speech. It is not song that is the narrow or artificial thing, it is conversation that is a broken and stammering attempt at song. When we see men in a spiritual extravaganza, like Cyrano de Bergerac, speaking in rhyme, it is not our language disguised or distorted, but our language rounded and made whole. ↗
Hundreds of butterflies flitted in and out of sight like short-lived punctuation marks in a stream of consciousness without beginning or end. ↗
