Word: prose
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Dates: during 1970-1979
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Next is a brief section titled "long lines falling into turning spinning" and then three solos. Chassler and Lusterman recite prose poems as they solo, while Norman ends the concert with a terse movement statement...
...take on qualities similar to its characteristics of movement. Energy is parcelled out into long stretches, each followed by short rests during which the dancer returns to a state of neutral energy, gathering again the threads of the sustaining image. The work is extremely linear, a soliloquy, like the prose poem Chassler recites...
...uses awkward construction and sometimes misuses words ("the fulsome trees hide the drabness of the gray stone city sitting squat on its giant plain.") The younger children write clearly like children throughout the book. Although they complained to their mother years after the publishing about the immaturity of their prose in the book, their literary freshness is usually charming and always forgivable...
...dazzling volume of verse called Personae (Masks) abruptly forced serious consideration of the upstart's mission: to drag poetry out of the 19th century and into the 20th. Poetry, Pound insisted, must have the virtues of good prose. "No book words, no straddled adjectives ('addled mosses dank'), no Tennysonianness . . . nothing you couldn't. in the stress of some emotion, actually...
...well-plotted and elegant short stories. If, as Norman Mailer (another Nobel-chaser) once wrote, the real short story writer is a jeweler, then O'Hara's best short fiction has the brilliance of carefully polished jewelry. O'Hara's later short story style depends on a clean, taut prose that unobtrusively serves to carry his plot and dialogue to conclusion. And as he grew older, despite his commercial success, O'Hara became more and more concerned with his place in American literature (donating numerous manuscripts to Harvard, Yale and Penn State). His writing often reflected this preoccupation...