Literature in 20th century begins with a serie of movements, some of them contradictory between them, as Symbolism, Decadentism, Impressionism and, in Hispanic literature, Modernism, The Generation of '98 [21, 121]. During the two first decades, two literary conceptions are imposed to writers: Those writers for whom literary work is the expression of a cultural experience and fall in intellectualism; and writers who, in view of the chaos of the time and the dissatisfaction of bourgeois world, see literary work as an adventure, as an irrational experience. In the thirties, some historic and socioeconomic facts, affected literature. It will express the search, through the action, of ethical values. After the World War, writers will insist in the same attitudes: moral crisis and tecnical experimentation.
Coinciding the beginning of the new century with Queen Victoria's death in 1901, Britain seemed to start a new period that wasn't seen immediately, because the short reign of Edward VII (1901-1910) was the continuity of the previous period. English society was divided in social classes: wealth was held by a few people thanks for the Industrial Revolution. The poor were still poor, although by the Educative Act of 1870 some instruction was guaranteed. The first threats for Britain appeared with anglo-boer war to become evident in 1914 with the beginning of the First World War.
In ideas, changes were more spectacular. In the beginning of the century Einstein's relativity theory becomes true, and in 1905 Freud's new theories started to be renewal in human interpretation. Nothing could be like before, because art and ideas wished to advance quickly. Even in picture, for example, Cubism and Dadaism broke all imaginable visual molds: Modernism crystallized as a global result of all possible desires of change and renovation. In fact, every intellectual, political or artistic movement tries to broke with the past and fix new directions to follow. Modernism, not only wished to broke with the past, but also abolish them. However, it wasn't possible; in ideas world always exists something "already invented" where we resort to and in this way, Modernism had to create its own tradition, looking for affinities in the past history [21, 127].
In literature, it was the Ullyses (1922) by James Joyce the work that produced the true impact because of its new character and its perfect style and the scandol of its publication. The woman would have an important paper in the society and this would have an excellent representant in Virginia Woolf (1882-1941). She belongs to an artistic and intellectual circle in Bloomsbury. Woolf was a writer with a lot of sensibility and wrote a beautiful poetic prose in the shape of novels like Mrs Dalloway and To the Lighthouse.
Prose poetry is usually considered a form of poetry written in prose that breaks some of the normal rules associated with prose discourse, for heightened imagery or emotional effect. Arguments continue about whether prose poetry is actually a form of poetry or a form of prose, or a separate genre altogether. Most critics argue that prose poetry belongs in the genre of poetry because of its use of metaphorical language and attention to language.
Other critics argue that prose poetry falls into the genre of prose because prose poetry relies on prose's association with narrative and its reliance on readers' expectation of an objective presentation of truth in prose. Yet others argue that the prose poem gains its subversiveness through its fusion of poetic and prosaic elements.
As a specific form, prose poetry is generally assumed to have originated in 19th-century France.
At the time of the prose poem's emergence, French poetry was dominated by the Alexandrine, an extremely strict and demanding form that poets such as Aloysius Bertrand and Charles Baudelaire rebelled against. Further proponents of the prose poem included other French poets such as Arthur Rimbaud and Stéphane Mallarmé.
The prose poem continued to be written in France and found profound expression, in the mid-20th century, in the prose poems of 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 actually hindered the dissemination of the form into English because many associated the Decadents with homosexuality, hence any form used by the Decadents was suspect.
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.
By Grand Central Station I Sat Down and Wept by Canadian author Elizabeth Smart, written in 1945, is a relatively isolated example of English-language poetic prose in the mid-20th century. Then, for a while, prose poems died out, at least in English—until the early 1950s and '60s, when American poets such as Allen Ginsberg, Bob Dylan, Jack Kerouac, 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.
At the same time, poets elsewhere were exploring the form in Spanish, Japanese and Russian. Octavio Paz worked in this form in Spanish in his Aguila o Sol? (Eagle or Sun?). Spanish poet Ángel Crespo (1926-95) did his most notable work in the genre. Giannina Braschi, postmodern Spanish-language poet, wrote a trilogy of prose poems, El imperio de los suenos (Empire of Dreams, 1988). Translator Dennis Keene presents the work of six Japanese prose poets in The Modern Japanese Prose Poem: an Anthology of Six Poets. Similarly, Adrian Wanner and Caryl Emerson describe the form's growth in Russia in their critical work, Russian Minimalism: from the Prose Poem to the Anti-story. The two best-known examples of this literary form in Russian are Gogol's Dead Souls and Venedikt Erofeev's Moscow-Petushki.
In Poland, Bolesław Prus (1847-1912), influenced by the French prose poets, had written a number of poetic micro-stories, including "Mold of the Earth" (1884), "The Living Telegraph" (1884) and "Shades" (1885).
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, Anne Carson, Kim Chinquee, Richard Garcia, Ray Gonzalez, Lyn Hejinian, Louis Jenkins, Campbell McGrath, Sheila Murphy, Naomi Shihab Nye, Mary Oliver, David Shumate, James Tate, and J. Marcus Weekley, Ron Silliman, and John Olson.
It used to be said that prose poetry was impossible in English because the English language was not so strictly governed by rules as was the French language. This seems not to be so strictly held in the twenty-first century.
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."
Flash fiction is fiction of extreme brevity. The standard, generally-accepted length of a flash fiction piece is 1000 words or less. By contrast, a short-short measures 1001 words to 2500 words, and a traditional short story measures 2501 to 7500 words. A novelette runs from 7501 words to 17,500, a novella 17,501 words to 40,000 words, and a novel 40,001 words and up. In theater script and poetry writing, vignettes are short, impressionistic scenes that focus on one moment or give a trenchant impression about a character, an idea, or a setting. This type of scene is more common in recent postmodern theater, where adherence to the conventions of theatrical structure and story development are jettisoned. It is particularly influenced by contemporary notions of a scene as shown in film, video and television scripting. Unlike the traditional scene in a play, the vignette is not strictly linked in with a sequential plot development but establishes meaning through loose symbolic or linguistic connection to other vignettes or scenes. Vignettes are the literary equivalent of a snapshot, often incomplete or fragmentary. In poetry, in the quintain form, they can relate to a short descriptive literary sketch or a short scene or incident from a movie or play. The use of vignettes is suited to those plays in which theme, image, emotion and character are more important than narrative, though this doesn't mean that a vignette is out of place as an element in a more narrative play.