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Prose Poetry

about PORNOGRAPHY

Prose poetry! Metaphysical, psychedelic, sensual, postmodern, and immoral are just some of the words used to describe Wolf Larsen's poetry!

Pornography poems contains no nudity. Poetry from Pornography has been published in literary magazines.

Wolf Larsen writes some of the most intoxicating prose poems that have ever been written.

Some poems are sensual - others are not - Pornography is filled with all kinds of exciting prose poetry!

Prose Poetry

The Poems in Pornography were written in New York City, Alaska, Japan, Korea, the province of Taiwan, Vietnam, Laos, Cambodia, Myanmar (Burma), Egypt, Jordan, Syria, Lebanon, Holland, Poland, Slovakia, Hungary, Romania, and Peru.

PORNOGRAPHY

Walk Through My Poem and Feel the Sunlight Holding You Forever

first I dream the entire world into your head, I recreate the universe

again and again just for you, Upon my back I carry all the most

beautiful temples of the world and I place them all one by one all

over your naked body, every sunrise crawling across the landscape

is a gift from me to you, I burn down hate and I throw suns of Love

throughout the universe just for You

Copyright ©2004 by Wolf Larsen, metaphysical prose poetry!

 

 

4 Billion Years Ago...

all the words are waves smashing into poetry and poetry flies into a

million scattering pieces and then a vowel yells "stop!", so our tiny

planet was drifting and rumbling and seething in some remote

corner of the universe. . .

Copyright ©2004 by Wolf Larsen, metaphysical poetry!

 

 

Run Off With All the Streets Falling into Your Hands

millions of buildings are flying out of your eyeball - the poem is a

billion eyeballs bouncing and bouncing all over the earth searching

and searching for a word

Copyright ©2004 by Wolf Larsen, the god of prose poetry!

 

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Prose poetry

From Wikipedia, the free encyclopedia

Prose poetry, is poetry written in prose instead of using verse but preserving poetic qualities such as heightened imagery and emotional effect.

Characteristics

Prose poetry can be considered either primarily poetry or prose, or a separate genre altogether. The argument for prose poetry belonging to the genre of poetry emphasizes its heightened attention to language and prominent use of metaphor. On the other hand, prose poetry can be identified primarily as prose due to its reliance on prose's association with narrative and on the expectation of an objective presentation of truth.

Critics such as Jonathan Monroe and Margueritte S. Murphy argue instead that the prose poem gains its subversiveness through its fusion of poetic and prosaic elements and, consequently, its challenge to the traditional notions of genre theory.

History

As a specific form, the origins of prose poetry in the West are placed around 19th-century France as a reaction against dependence upon traditional uses of line in verse. At the time of the prose poem's emergence, French poetry was dominated by the Alexandrine, an extremely strict and demanding form that poets starting with Aloysius Bertrand and later Charles Baudelaire, Arthur Rimbaud and Stéphane Mallarmé rebelled against in works such as Gaspard de la Nuit, Paris Spleen and Les Illuminations.

The prose poem continued to be written in France into the 20th century by such writers as Max Jacob, Henri Michaux, and Francis Ponge.

At the end of the 19th century, British Decadent movement poets such as Oscar Wilde picked up the form because of its already subversive association. This may have hindered the dissemination of the form into English because many associated the Decadents with homosexuality; hence any form used by the Decadents was suspect.

Other writers of prose poems outside of France include Friedrich Hölderlin, Novalis, and Rainer Maria Rilke.

Notable Modernist poet T. S. Eliot wrote vehemently against prose poems, though he did try his hand at one or two. He also added to the debate about what defines the genre, saying in his introduction to Djuna Barnes' highly poeticized 1936 novel Nightwood that this work may not be classed as "poetic prose" as it did not have the rhythm or "musical pattern" of verse.

In contrast, a couple of other Modernist authors wrote prose poetry consistently, including Gertrude Stein and Sherwood Anderson. In actuality, Anderson considered his work to be short fictions—in the current term, "flash fiction". The distinction between flash fiction and prose poetry is at times very thin, almost indiscernible...

...Then, for a while, prose poems died out, at least in English—until the early 1950s and '60s, when American poets such as... ...William S. Burroughs, Russell Edson, Charles Simic, Robert Bly and James Wright experimented with the form. Edson, indeed, worked principally in this form, and helped give the prose poem its current reputation for surrealist wit. Similarly, Simic won the Pulitzer Prize in Poetry for his 1989 collection, The World Doesn't End.

...The form has gained popularity since the late 1980s, and literary journals that previously disputed prose poetry's contributions to both poetry and prose currently display prose poems next to sonnets and short stories. Journals have even begun to specialize, publishing solely prose poems/flash fiction in their pages (see external links below). Some contemporary writers who write prose poems or flash fiction include Michael Benedikt, Robert Bly, J. Karl Bogartte,Graham Burchell, Kim Chinquee.

Rapturous, rhythmic, image-laden prose from previous centuries, such as that found in Jeremy Taylor and Thomas de Quincey, strikes 21st-century readers as having something of a poetic quality. Using figurative language to provoke thought, it invites a reader into unusual perspectives to question what is traditionally thought of, as in Richard Garcia's "Chickenhead."

 

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