Optical Prose: William Gibson And Bruce Sterling Leonard .
59Optical Prose: William Gibson and Bruce SterlingLeonard Sanders. like the moon, whose orbThrough optic glass the Tuscan artist viewsAt evening from the top of Fesole,Or in Valdarno, to descry new lands,Rivers or mountains in her spotty globe.John Milton, Paradise Lost 1. 287-291Cyberspace. A graphic representation of data abstracted from the banks ofevery computer in the human system. Unthinkable complexity. Lines of lightranged in the nonspace of the mind, clusters and constellations of data. Like citylights receding .William Gibson, Neuromancer'Bobby, do you know what a metaphor is？''A component？Like a capacitor？'Willson Gibson, Count ZeroIOptic GlassOf all the telescopic observations made by Galileo during the seventeenth century,the most popular and sensational was that of the moon, an event recalled in a memorablepassage in John Milton's epic poem Paradise Lost (1667) through the famous comparisonof Satan's shield to the moon1. Milton had met Galileo during his visit of 1638 to Italy;Galileo was in Tuscany under house arrest by the Inquisition, and "whether or not he
60ever looked through Galileo's telescope, Milton seems to have been fascinated by it"(Potter, 40). In the poem Satan's shield is compared to the disc of the moon as it is seennot with the naked human eye but "through optic glass"2. Alastair Fowler's annotationfor this passage in Paradise Lost notes that Galileo's findings provide an "evidentialbasis" for the world in which the action of Milton's 'cosmic' poem is to take place.Milton's concern with astronomy is that he "draws analogies from the observablerather than the theoretical nature of the heavens in order to illustrate his philosophicaland theological statements" (Broadbent, 133). As commentators on this passage haveshown, the famous comparison of Satan's shield to the moon says more than the obviousfact that both objects are large, round and shiny. Satan's shield is of "ethereal temper",but as we draw nearer to it through the 'optic glass' it turns out, like the moon, to be a'spotty Globe' and the spots and irregularities indicate a loss of perfection. In ParadiseLost Milton was able to use both the new astronomy of Galileo, and the old astronomy(based on a traditional, earth-centered view of the universe) "to point a contrast betweenthe fallen and unfallen world" (Potter, 42).This image, according to Harinde Marjara in Contemplation of Created Things:Science in Paradise Lost, "like many other scientific images in Paradise Lost is notdrawn from everyday experience, but needs to be mentally visualized by readers. Unlessthe readers are familiar with Galileo's astronomical observations, they will not registerthe full impact of the image" (60-1). As has been pointed out by Broadbent, "Milton'ssense of cosmic perspective is expanded by Galileo's discoveries" (134). Yet we mustalso keep in mind the metaphorical link, that the appearance of the moon as a continenthas no direct relationship to Satan's shield; it is the extended simile that enhances theimaginative impact of its gigantic size, forming an image which is beyond everydayhuman experience. Thus space in Paradise Lost becomes much more than topicalscientific reality; it is also forms the aesthetic shape of the poem.Marshall McLuhan has remarked "that the personal and social consequences of anymedium that is, of any extension of ourselves result from the new scale that isintroduced into our affairs by each extension of ourselves, or by any new technology"(226). In our own time we can perhaps take the example of the Hubble telescope,which has provided a wealth of information to astronomers since being delivered tospace by the shuttle Discovery in April 1990. The telescope captured the best views ofMars ever obtained from Earth. It also provided the first convincing proof by an optical
61telescope of the existence of black holes. Astronomers credit Hubble with a long list ofnoteworthy observations and discoveries, as "it uses a collection of instruments to pickapart the universe, one observation at a time. .'who we are and our place in the cosmos'" 3.Another significant example, and the topic of this paper, can be found in the creationof cyberspace. Cyberspace, according to Katherine Hayles, "represents a quantum leapforward into the technological construction of vision" (38). The implications have beenexplored in the genre of writing known as cyberpunk, and the two writers most oftenassociated with it, William Gibson and Bruce Sterling. Science fiction critic DarkoSuvin has noted "Gibson and Sterling, who, by both accessibility and the critical attentionpaid them, seem to be the most popular, and who are taken to be the most representative,writers of this trend . as the positive and negative poles of cyberpunk"(351). In theintroduction to Burning Chrome, a landmark collection of cyberpunk short stories byGibson, Sterling notes the presence of "a complex synthesis of modern pop culture,high tech, and advanced literary technique" (x).What is of particular interest here is the interrelation between a new technology andrepresentation; the passages quoted above use a simile Satan's shield is 'like themoon', Gibson's cyberspace 'like city lights receding'. Sterling's preface to the cyberpunkanthology Mirrorshades notes "Gibson's extrapolative techniques are those of classichard SF, but his demonstration of them is pure New Wave" (xi). In this paper I willexplore this relation further through a sampling of passages from Bruce Sterling's CrystalExpress, together with William Gibson's fiction, in particular Neuromancer. Central tothe discussion concerning the evocation of cyberspace is the 'virtual' image. In TheVision Machine Paul Virilio has defined the virtual image as "the formation of opticalimagery with no apparent base, no permanency beyond that of mental or instrumentalvisual memory" (59). He also identifies "one of the most crucial aspects of thedevelopment of new technologies of digital imagery and of the synthetic vision offeredby electron optics: the relative fusion/confusion of the factual (or operational .) andthe virtual: the ascending of the 'reality effect' over the reality principle" (60).IIVisual MechanismsIn many ways cyberculture is an environment saturated by electronic culture. This
62has produced a new language and image repertoire to describe it. In an article entitled"Literary MTV" George Slusser takes up cyberpunk as a new style, "a mode that is totraditional narrative as MTV is to the feature film" (in McCaffery, Storming theReality Studio, 334). He finds, citing Gibson's Neuromancer as an example, thereinimages "condensed, sharpened, creating an optical surface" 4; that this is "optical prose"marked by "images no longer capable of connecting to form the figurative space ofmythos or story" and that it is proof that words have succumbed to the "fragmentingspeed, the instantaneity and monodimensionality of the visual image" (334). Thus"language, in the sizzle and flash, loses its narrative moorings" (340) and "the body ofnarrative is giving way to the disembodied image" (343). Cyberpunk style ischaracterized by "words that float right out of any syntactic or semantic structure capableof organizing them into a sustained narrative or message" (340-1).For cyberpunks "technology is inside, not outside the personal body and mind" (Suvin,352). Bruce Sterling has employed the term "visual mechanisms" in order to describethe prosthetic devices implanted in the body. In a piece of writing in Crystal Expressentitled "Twenty Evocations" we find the following description:Optic Television: It was astonishing how much room there was in the eyesocket, when you stopped to think about it. The actual visual mechanisms hadbeen thoroughly miniaturized by Mechanist prostheticians. Nikolai had someother devices installed: a clock, a biofeedback monitor, a television screen, allwired directly to his optic nerve" (104).There are numerous examples in cyberpunk writing which refer to a direct neural linkbetween the brain and the computer through eye implants (Crystal Express, 103) andimplanted lens. In Neuromancer we find one of the characters with eyes which were"vatgrown sea-green Nikon transplants" (33); in the short story "Burning Chrome"Rikki is anxious to get hold of Zeiss Ikon Eyes; the eye monocle or monocle rig is afeature of Idoru (338). Another example are the 'mirrorshades' which Darko Suvinfinds to be "a two-way transaction between the wearer and his social environment" and"both mask the gaze and distort the gaze"(358). In Neuromancer Linda wearsmirrorshades: "the glasses were surgically inset, sealing her sockets. The silver lensseemed to grow from smooth pale skin above her cheekbones" (36).
63Another technology of perception that features prominently in cyberpunk isholography. The earliest piece of Gibson's writing is "Fragments of a Hologram Rose".The story concerns a man named Parker reminiscing alone in an apartment during a"brownout," defined as a temporary decrease in power supplied to network devices.Having been left by his girlfriend, he fills in his time accessing an ASP (ApparentSensory Perception) deck, a device which can record physical, emotional, and sensualstates happening and then play them back. The experience leads him into a philosophicaldimension, where a postcard of a hologram rose shredded in the waste disposal unitseems to symbolize the fragmented nature of the self: "we're each other's fragments."At the end of the story Parker lies in darkness recalling the thousand fragments of ahologram rose. Gibson adapts the terminology and visual effects of holography toconvey an updated metaphysical complexity whereby each fragment which revealsthe whole image of the rose "reveals the rose from a different angle".As the title of the story suggests, the narrative of "Fragments of a Hologram Rose"revolves around an 'incongruous' juxtaposition: 'hologram', one of the 'metaphors ofthe new technology' according to Hollinger (Storming the Reality Studio, 215) and'rose' with its pseudo-mystical and literary connotations. This order of juxtaposition isa noted feature of cyberpunk writing, other examples being juxtapositions ofAmerican culture with Japanese culture, and high tech with the subculture of the street.The references to holography are ubiquitous in cyberpunk. Bruce Sterling's CrystalExpress: "When Nikolai Leng was a child, his teacher was a cybernetic system with aholographic interface" (102); in Gibson's Neuromancer, there are numerous associationswith Night City, where the holograms "shifted and flickered" (50) and neon markedout the place at the heart of it, Ninsei: "Down on Ninsei the holograms were vanishinglike ghosts" (35). There is a building called Metro Holografix (62), and a memorabledescription in Neuromancer of a holographic cabaret (165-7) and to what is projectedthrough holography, i.e. a "holo-construct" (181).Furthermore, discourses on holography are linked to potent cyberpunk themesconcerning the relation between technology and memory: "memory's holographic the holographic paradigm is the closest thing you've worked out to a representation ofhuman memory" (202). A more detailed description of the hologram and the image itpresents is found in Neuromancer and functions as a gateway to Villa Straylight:
64'Freeside' Armitage said, touching the panel of the little Braun hologramprojector. The image shivered into focus, nearly 3 meters from tip to tip. . Hereached into the skeletal representation and pointed . Armitage walked to theopposite end of the projection. The interior detail of the hologram ended here,and the final segment of the spindle was empty. This is Villa Straylight." (132-3)An important source for holography in cyberpunk might well be the influential physicistDavid Bohm's use of the analogy of a hologram for thinking about implicate order"because of its property that each of its parts, in some sense, contains the whole"referred to in Fritjof Capra's widely read The Tao of Physics first published in 1976(Gibson's short story 'Fragments of a Hologram Rose" was written around 1977). Caprawrites that "if any part of a hologram is illuminated, the entire image will bereconstructed, although it will show less detail than the image obtained from thecomplete hologram." Admitting the analogy is somewhat limited, Capra notes itsusefulness for Bohm is that "the real world is structured according to the same generalprinciples, with the whole being enfolded in each of its parts"5.According to D. Emily Hicks "The model of holography presents itself because itcreates an image from more than one perspective" (and in "Fragments of a HologramRose" we can recall in this context Gibson's similar terminology, 'from a different angle').A holographic image is formed as follows:Holography provides a provocative multidimensional model for visualizingthe production of deterritorialized meaning/nonmeaning. A holographic imageis created when light from a laser beam is split into two beams and reflectedoff an object. The interaction between the two resulting patterns of light iscalled an "interference pattern," which can be recorded on a holographic plate.The holographic plate can be reilluminated by a laser positioned at the sameangle as one of the two beams, the object beam. This will produce a holographicimage of the original subject. (xxix)In her book on the multidimensional text Hicks is concerned to apply the model ofholography to 'border writing', which refers to writing originating in the boundaryspace between the United States and Mexico. Hicks finds that many border tropes,
65metaphors, and images juxtapose traditional culture and technology, and thisjuxtaposition forms the basis of border writing, which is "rooted in a critique oftechnology" (xxx). Interestingly she provides an example from Gibson: "the bordermachine and holography would meet in the matrix in border cyberspace" (xxix).IIIBright Lattices, Optical IllusionsKatherine Hayles, examining the links between computer technologies andrepresentation, has found Gibson's achievement is based on "two literary innovationsthat allow subjectivity, with its connotations of consciousness and self-awareness, tobe articulated together with abstract data" (37). One of these innovations is 'point ofview' (abbreviated as 'pov'): thus, in cyberspace "point of view does not emanate fromthe character; rather, the pov literally is the character (38, italics in original). When thepov disappears, so does the character, "ceasing to exist as a consciousness in and out ofcyberspace" (38). The second innovation is the presentation of cyberspace, "createdby transforming a data matrix into a landscape" (38). Gibson's achievement, then, ishis recognition that a fundamental category, like space and time, can be used "as aconjunction to join awareness with data" and such innovations take "informatics beyondthe textual surface into the signifying processes that constitute theme and character"(39).In the final part of this paper I want to explore some of the ways in which cyberspacemight be conceived by imagining the matrix as a three-dimensional landscape. InNeuromancer, we come across the following description of the cyberspace experience:He closed his eyes . Symbols, figures, faces, a blurred, fragmented mandalaof visual information . A gray disk, the color of Chiba sky . beginning torotate, faster, becoming a sphere of paler gray. Expanding And flowed,flowered for him, fluid neon origami trick . opening to the stepped scarletpyramid of the Eastern Seabord Fission Authority burning beyond the greencubes of Mitsubishi Bank of America, and high and very far away he saw thespiral arms of military systems, forever beyond his reach. (68)
66To a certain extent the passage depends for its effect on recognizable visual cues, suchas 'sky', and recognizable shapes, for example 'disk', 'pyramid' and 'cube'. There arealso references to more traditional viewing patterns 'stepped', and 'high and very faraway'. These perspective-oriented viewing practices are familiar, and we can cite Potter'sdiscussion on Milton's Paradise Lost whereby "classical and medieval descriptions ofthe world as seen from above in dreams or visions always note the smallest detailsdespite the tremendous distance separating the observer from his object. This samecombination of extreme distance with extreme clarity is seen in the account of Raphael'sview of earth from the heavens, but Milton justifies it by comparing it with the viewthrough a telescope" (Potter, 40).The force of the passage may emanate from a similar 'combination' or juxtapositionof more conventional visual details with references to heightened visual awareness,encapsulated in the 'fluid neon origami trick'. Throughout Neuromancer there are othersimilar combinations, often conjoined into one sentence: "the plateaus of the EasternSeabord Fission Authority in the infinite neuorelectronic void of the matrix (139).Thus cyberspace is presented as a landscape which is familiar to the reader, "Up theconstruct said .they ascend lattices of light" (40); yet it is also an unfamiliar 'nonspace':"cyberspace shivered, blurred, gelled" (139). In other works there are binaries like 'up/down' and 'near/far' 6 that map out the cyberspace landscape in order to render advancedcyber-optical effects. In the novel Idoru the 'optical surface' is full of references to theconventional perspectives which arise from terminology such as 'resolution/focus' (144), "far away, like a picture in a magazine" (173), and "clicked through a series of images. linear perspective (192) alongside advanced cyber-optical effects associated with'pattern-recognition' (193), 'fractured images' (290), or a character who "looked in alldirections" (207). Cyberspace, then, marks out " a regime of representation withinwhich pattern is the essential reality, presence an optical illusion" (Hayles, 36).Fabijancic notes in Gibson's presentation of cyberspace the "accent on visuals andhis use of heightened language becomes something like pure exhiliration", that "hishigh-speed language is suited to the high speed of "biz", the high of cyber-travel, thedepthless rhetoric of multinational capitalism". Moreover, Gibson "dramatizes thespectacular simulational surfaces of late capitalism through his visually-charged style".Thus there are 'optical' effects associated with 'speeding up and slowing down'. Wecan recall McLuhan's observation: "Electric speed mingles the cultures of prehistory
67with the dregs of industrial marketeers, the nonliterate with the semiliterate andpostliterate" (232). Here Neuromancer provides some illuminating examples: "theimages came pulsing back, the faces, fragments of neon arriving and receding" (45);these are "hypnagogic images jerking past like film compiled from random frames.Symbols, figures, faces, a blurred fragmented mandala of visual information" (68).How do we account for this new 'technological construction of vision'? By way ofconclusion, we can perhaps turn to Jean Baudrillard's stimulating writing on the natureof optical illusion. In an article entitled "Trompe l'oeil or enchanted simulation"Baudrillard notes that with "the disintegration of this hierarchical organization of spacethat privileges the eye and vision, of this perspectival simulation for it is merely asimulacrum something emerges . a tactile hyperpresence of things" (62-3).Moreover, and noting that "the trompe l'oeil is no longer confined to painting" (64) hepoints out that whereas "the Renaissance organized all space in accord with a distantvanishing point, perspective in the trompe l'oeil is, in a sense, projected forward. Theeye, instead of generating a space that spreads out, is but the internal vanishing pointfor a convergence of objects. A different universe occupies the foreground, a universewithout horizon or horizontality, like an opaque mirror placed before the eye, withnothing behind it" (63-4).There are useful applications here for gaining insight into Gibson's representationof cyberspace through Baudrillard's discussion of the trompe-l'oeil. Baudrillardconcludes his discussion with a description of the Ducal Palace of Urbino, Italy, builtby the architect Luciano Laurana in 1468, and the famous studiolos it contains, those"tiny sanctuaries entirely in trompe l'oeil at the heart of the immense space of thepalace"(65). In fact, in a strange coincidence, Gibson alludes to the Ducal Palace atMantua for his depiction of the Villa Straylight, the Tessier-Ashpool orbital homewhich Case and Molly access in Neuromancer:The walls blurred. Dizzying sensation of headlong movement, colors, whippingaround corners and through narrow corridors. They seemed at one point topass through several meters of solid wall, a flash of pitch darkness.'Here,' the Finn said. 'This is it.'They floated in the center of a perfectly square room .Each space in Straylight is in some way secret, this endless series of chambers
68linked by passages, by stairwells vaulted like intestines, where the eye is trappedin narrow curves, carried past ornate screens, empty alcoves . (205-8)We find that "the Villa's silicon core is a small room, the only rectilinear chamber inthe complex" and that, by some startling trompe-l'oeil 'trick' the eye is deceived andthe "paneled room folded itself through a dozen impossible angles, tumbling away intocyberspace like an origami crane" (208). Similarly, the Ducal Palace at Mantua .contains a series of increasingly smaller rooms. They twine around the grand apartments,beyond beautifully carved doorframes one stoops to enter. They housed the court dwarfs"(307-8).Cyberspace in Gibson's writing, then, as Hayles suggests, is created by 'imagining adata matrix as a landscape' 7. It may be, as Gibson writes in the short story "BurningChrome" that "the matrix's illusion of infinite space"(177), it is "like watching a tapeof a prefab building going up: only the tape's reversed and run at high speed", but it isthe matrix simulator in Bobby's loft which generates this illusion. Veltman has remarkedhow "virtual reality has played a major role in expanding the scope of perspective"(221) in art which entails "a fragmentation in the process of creating illusion" (223).8 Ina wider context, Ben-Tov notes in The Artificial Paradise: Science Fiction and AmericanWriting that cyberpunk as typified by William Gibson's novels "celebrates the afterlife:cyberspace. In the cyberpunk novel cyberspace fulfills every promise that space traveldid" (179). And if traditional Science Fiction was a model and symbolic means forproducing space technologies, cyberpunk plays the same role producing . Cyberspace,virtual reality, technologies of sensory illusion" (177).NOTES1. Galileo (1564-1642) had published in 1610 his descriptions of the mountains on themoon as seen through a telescope (invented in the Netherlands). Siderius Nuncius orStarry Messenger (1610) revealed the existence of four moons of Jupiter, mountains ofthe moon, and the true nature of the Milky Way. In 1613 he described spots on the sun(Potter, 159). Other references to Galileo in Paradise Lost are: "As when by night theglass/Of Galileo, less assured, observes/Imagined lands and regions in the moon" (V.257-263); "a spot like which perhaps/Astronomer in the sun's lucent orb/Through hisglazed optic tube yet never saw" (III. 587-90).
692. Optic glass is the seventeenth-century technical term for telescope, and not poeticdiction. Galileo used a variety of scientific instruments including the compoundmicroscope, and the thermometer, which he may have invented.3. The Japan Times, Monday, March 4, 2002, p.8.4. According to McHale, "Gibson's fiction functions at every level, even down to the'micro' structures of phrases and neologisms" (Storming the Reality Studio, 309).5. In a footnote, Capra defines holography as "a technique of lensless photographybased on the interference property of light waves. The resulting 'picture' is called ahologram" (footnote 13, p. 323).6. Culler has shown that the notion of relational identity is crucial to the semiotics ofall kinds of social and cultural phenomena: "binary oppositions can be used to orderthe most heterogeneous elements, and this is precisely why binarism is so pervasive:when two things are set in opposition to one another the reader is forced to explorequalitative similarities and differences, to make a connection so as to derive meaningfrom the disjunction" (15).7. A case could be made to show cyberspace as gendered: "the transition to cyberspacewhen he hit the switch was instantaneous . into her sensorium, . senses sharp andbright (72); "cyberspace matrix cyberspace slid into existence from the cardinalpoints . Her body language was disorienting, her style foreign" (71).8. For a discussion of recent developments in virtual reality and Renaissance perspective,see Veltman, p.221.WORKS CITEDBaudrillard, Jean. "Trompe-l'oeil or Enchanted Simulation" in Seduction. Trans. BrianSinger. London: Macmillan, 1990.Ben-Tov, Sharona. The Artificial Paradise: Science Fiction and American Writing.Ann Arbor: University of Michigan Press, 1995.
70Broadbent, John (ed). John Milton: Introductions. London and New York: CambridgeUniversity Press, 1973.Capra, Fritjof. The Tao of Physics: An Exploration of the Parallels Between ModernPhysics and Eastern Mysticism. Rev. and Updated. Toronto: Bantam, 1976/1984.Culler, Jonathan. Structuralist Poetics: Structuralism, Linguistics and the Study ofLiterature. London and Henley: Routledge and Kegan Paul, 1975.Fabijancic, Tony. "Space and power: 19th Century Urban Practice and Gibson'sCyberworld." Mosaic (Mar. 1999) v32 i1 p105, 1999.Gibson, William. Burning Chrome. Ace, 1986.̲̲̲̲̲ Neuromancer. HarperCollins, 1984.̲̲̲̲̲ Idoru. New York: Berkley Books, 1996.Hayles, Katherine N. How We Became Posthuman: Virtual Bodies in Cybernetics,Literature, and Informatics. Chicago: The University of Chicago Press, 1999.Hicks, D. Emily. Border Writing: The Multidimensional Text. Minneapolis: Universityof Minnesota Press, 1991.Marjara, Harinde Singh. Contemplation of Created Things: Science in Paradise Lost.Toronto: University of Toronto Press, 1992.McCaffery, Larry ed. Storming the Reality Studio; A Casebook of Cyberpunk andPostmodern Science Fiction. Durham N.C: Duke University Press, 1991.McLuhan, Marshall. "The Medium is the Message" in Munns, J. A Cultural StudiesReader. Longman: London and NY, 1995.Milton, John. Paradise Lost. Ed. Alastair Fowler. Longman: London and NY. 1968/1971.Potter, Lois. A Preface to Milton. Revised Edition. Longman, 1971/1986.Sterling, Bruce. Crystal Express. Ace, 1989.̲̲̲̲̲̲ Mirrorshades. HarperCollins, 1986.Suvin, Darko. "On Gibson and Cyberpunk SF" in McCaffery, Larry ed. Storming theReality Studio; A Casebook of Cyberpunk and Postmodern Science Fiction. DurhamN.C: Duke University Press, 1991.Veltman, Kim H. "Electronic Media: The Rebirth of Perspective and the Fragmentationof Illusion" in Electronic Culture: Technology and Visual Representation. Ed.Timothy Druckrey. New York: Aperture, 1996.Virilio, Paul. The Vision Machine. Trans. Julie Rose. Bloomington and Indianapolis:Indiana University Press, 1994.
John Milton, Paradise Lost 1. 287-291 Cyberspace. A graphic representation of data abstracted from the banks of . passage in John Milton's epic poem Paradise Lost (1667) through the famous comparison . it is the extended simile that enhances the imaginative impact of its gig
The eighteenth century was a great period for English prose, though not for English poetry. Matthew Arnold called it an "age of prose and reason," implying thereby that no good poetry was written in this century, and that, prose dominated the literary realm. Much of the poetry of the age is prosaic, if not altogether prose-rhymed prose.
This gap is sometimes described as between 'prose' on the one side and 'poetry' on the other. Prose must be entirely transparent, poetry entirely opaque. Prose must be minimally self-conscious, poetry the reverse. Prose talks of facts, of the world; poetry of feelings, of ourselves. Poetry must be savored, prose speed-read out of existence.
Gibson Descendants Generation 1 1. THOMAS1 GIBSON was born about Abt. 1690 in West Fallowfield, Chester Co., PA. He died about Abt. 1784 in Chester Co., PA. Thomas Gibson had the following children: 2. i. ANDREW2 GIBSON (son of Thomas Gibson) was born about Abt. 1708 in Ireland. He died on Oct 25, 1803 in West Bradford Twp., Chester Co., PA.
Read grade-level prose, poetry and informational text in L1 and/or single words of leveled prose and poetry in English. Read grade-level prose, poetry and informational text in L1 and/or phrases of leveled prose and poetry in English. Read short sentences of leveled prose, poetry and infor
The Prose of Mandelstam I The prose which is here offered to the English-speaking reader for the first time is that of a Russian poet.1 Like the prose of certain other Russian poets who were his contemporaries—Andrey Bely, Velimir Khlebnikov, Boris Pasternak—it is wholly untypical of ordinary Russian prose and it is re markably interesting.
'Closed Book' Teaching Factors to consider and classroom teaching activity ideas for approaching 'closed book' texts. Example Post-1914 Prose Question An example prose question based on an extract from Lord of the Flies by William Golding. Example Post-1914 Prose Question Mark Scheme The specific Assessment Objectives, Mark Scheme and Indicative
Let’s compare poetry and prose! Poetry is similar to prose because it can have a beginning, middle, and end and tell a story. ! Prose is different from poetry because it is written in stanza form, can rhyme, and meter.
Hindi 10221 I Prose, Non-Detailed Text, Grammar and Letter Writing 100 Sanskrit 10010231 I Prose, Poetry and Grammar Urdu 10241 I Prose and Poetry 100 B.C.A. Paper II 14021 80II Elements of Mathematics B.B.M. Paper II 15021 100II Principles of Management B.A. (OL) Part - III 16011 I Poetry and Drama 100
