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Video embedded · What exactly is a prose poem
With her trademark wit and verve, Prose delves into humanity’s most profound mysteries: art, ambition, childhood, aging, and love. Startling and captivating, Mister Monkey is a breathtaking novel from a writer at the height of her craft.
Moore also believes that the most fruitful events or moments to write about are those that continue to confuse us. He stresses the importance for him of writing to understand the difficult questions, to explore who and what were the primary movers and shapers of his past.
Prose Notes on “Berry” Essay Example for Free
AEIS 111 Essay Assignments - University of Oregon In this assignment, you will write an essay based on "The School Days of an Indian Girl" and "Waiting in Line at the Drugstore" ...
DB: The issue of naming is important to "Still Life," also. But you make an important distinction here. The poem opens in the act of writing of the name, but doesn't actually provide the name itself. So I see what you mean about the interplay between the specific and the general. The poem dances back and forth between those two worlds. The poem lives in the space between those two.
Definition and a list of examples of prose
BOTTOMS: I think that phrase "country surrealism" first appeared in Dickey's Sorties, a collection of journals and essays he published back in the early seventies. I'm not sure I know exactly what he meant by that. I always just took it to mean the odd things one was likely to see in the countryside of the deep South. In that essay, I think Dave calls it the "strangeness of his local experience." One might just as appropriately call it reality. If it is strange to some people, it is not so strange to others—to the people who live in these places, I mean. It is their reality. In this sense you could probably call the fiction of Flannery O'Connor surreal. Or the fiction of Barry Hannah, or Erskine Caldwell. I think what Dave might have been pointing to are those poems of mine some people have called "rogue male." Back when Shooting Rats came out, the North Carolina writer Guy Owen reviewed it and called me the "laureate of the rednecks." To a certain extent, I suppose, that image has stuck. People who read my poems expect to see rats and U-Hauls and carnivals and drunks in bass boats, that sort of thing. To some people, there may be images there that seem surreal, but to me surrealism has always been relative. When Warren read that Shooting Rats book, he called it realistic. It was his reality, just as it was mine. Of course, there is also the dream component of surrealism. Sure, there are a few poems in the new book that use the word "dream" in the title, but they don't really employ many dream techniques. No, there's very little of that working in my poems, or any stream of consciousness stuff. About the "aesthetic gesture" running its course. Well, yes. It all has to do with subject matter, I suppose. These new poems are much closer to heart, more personal, less cultural, so I suppose it's only natural that less of the grotesque would come into them.
FJ: All of the poems are recent. In fact, "At a Train Station" was written at the time of the sixtieth anniversary of the Palestinian dispossession, Nakba, last year, months before Darwish's death. Its conversational discourse, between the narrative, the descriptive, and the expository, is also a recent development in Darwish's longer poems; his sense of the lyric has changed, as does the diction of all great poets in their late style. Soon, I hope, it will become clear to many who read Darwish which era is a given poem written in: his diction and breath and lyric have clear and distinct shifts in them throughout the years.
The prose poems are also recent, from his last collected book The Trace of the Butterfly (Athar al-Farasheh) in 2007. He calls them diaries and not poems. In them he experiments openly and persistently with non-prosody. In fact he wrote a memoir in 2006, In the Presence of Absence, which reads like a book-long prose poem, a description that made him happy. Darwish always worked at redefining prosody and rhythm in the contemporary Arabic poem, always negotiating the meaning of "free" in poetry. He resisted the notion that modern poetry or free verse meant "free for all." In the same book, he has another prose piece, "In Madrid," in which he recalls reading with Mark Strand, and asking him about what defines a poem away from prosody: And Mark's reply: "rhythm ... rhythm."
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though he has written a lot of prose also
BOTTOMS: It's interesting that you bring up the Romantics and what you call my "truncated version of the Romantic descriptive-meditative lyric." The only piece of criticism I've ever published—and to call it criticism is generous—was a little note about a type of poem popularized by William Lyle Bowles near the turn of the nineteenth century. As you know, it became a fairly substantial influence on Wordsworth and Coleridge, who did it much better. Anyway, I believe I ran across all this somewhere in the work of M.H. Abrams, and I think he called it a "loco-descriptive poem." Well, way back in 1977, I published this little piece about an early James Seay poem that I described as "loco-descriptive." This was in a small magazine called Notes on Contemporary Literature, which came out of West Georgia College, where I did a master's degree. I've always liked the way the "loco-descriptive" poem works because it seems to me like the natural way the world affects us, or at least affects me. As you know, the poem develops like this: a title usually assigns the poem a particular place and date, say Bowles's "On Dover Cliffs, July 20, 1787" or Wordsworth's "Composed Upon Westminster Bridge, September 3, 1802." Then the poet presents a speaker, usually identified with himself, who proceeds to describe a particular landscape. Somewhere along the way something specific in the scenery arouses in the speaker an emotional response or moral concept, and the poem turns on that. So the structure of the poem, which sets the poem in some specific time and place, serves to develop an abstract concept from a concrete situation.
As I said, I've always been attracted to this sort of development. It emphasizes the power of the epiphany, the moment of insight. I think this also must be related to my notions of the poet as seeker after meaning, after consequence. And on top of all that, it's simply the way that poems—or the ideas for poems—first came to me. I talk a lot in my classes about where poems come from, about how ideas present themselves. I like very much what Seamus Heaney says in an early and excellent essay called "Feeling into Words," where he talks about the act of finding a poem as a sort of "divining." And everyone knows Randall Jarrell's comparison of the poet to someone standing out in a thunderstorm. If he gets struck by lightning once, then he's a good poet. Twice, and he's a great poet. Or something like that. I've always wondered, though, if there isn't some way of increasing those lightning strikes—those great ideas—like, say, standing out on a stormy hill and holding up a golf club. I think it has a great deal to do with making oneself receptive to the world. The notion here is a very old one, and it's the notion that the poem or the idea for the poem comes from some other place, some place outside the writer. Warren said somewhere that the world is always trying to tell the poet something. I believe this is true. Think about this. No one ever gets out of the shower, dries off, and says to his or her significant other, "Hey, I just created a great idea." No, we say that an idea came to us, or we just had an idea. Yeats says somewhere in his autobiography, The Trembling of the Veil, that "When a man writes any work of genius, or invents some creative action, is it not because some knowledge or power has come into his mind from beyond his mind?"
Again, it's hardly more than making oneself receptive to the world and waiting for the lightning to strike. Very often, in my early days, a line or an insight would simply present itself, and that line would usually become the final line of a poem. For instance, "Under the Vulture-Tree" developed that way. The engendering idea for the poem was the notion that a vulture is a sort of weird and dwarfed angel, and that there is a kind of ironic resurrection in their scavenging. The last line of the poem—"with mercy enough to consume us all and give us wings"—was actually the first line that came to me. Anyway, I've always liked that sort of punch, but why I've come back to that now is beyond me. It may be little more than returning to early roots, to a comfortable way of looking at the poem and the world.
One quick word, though, about your comment that the swift closure of the poems often leaves the reader to "perform the meditation." I think that's a pretty sharp insight, and it underlines for me the whole notion of what I want a poem to do. I like what Karl Shapiro said about the difference between poetry and philosophy. In an essay called "What is Not Poetry," he writes: "If poetry has an opposite, it is philosophy. Poetry is a materialization of experience; philosophy is the abstraction of it," which is to say the poet makes the experience material on the page so that the reader can abstract from it. And so the reader gets to actively participate.
Paper essay is a prose composition with resume toronto
FJ: The multiplicity of my experience deals directly and indirectly with what I believe to be a defining facet of our times: the nation-state (and its harrowing litany of victims, refugees, massacred, dehumanized, and exiles, et cetera). But one cannot simply write about this and be content. It has its pitfalls. One must, naturally, turn his or her gaze to one's private, shared humanity in the daily and the quotidian; just as much as one should turn toward the natural (pomegranate or the sea) and juxtapose it to the categorical or what we sometimes call the specific.
Victims are victims first. We know they are human and humans are neither angels nor saints. There's a fascinating title of a book on the Rwandan genocide: When Victims Become Killers. Obviously this is not just specific to Rwanda. It is a human phenomenon. And yes, victimizers intentionally or otherwise brutalize their victims in order to strip their victims of their humanity and turn them into similar monsters. So to what extent does one fall into the trap of blaming victims? And to what extent does one fall into the trap of apologizing for victims who have become victimizers?
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