…the essence of Elmore is to be found in his use of the present participle. What this means, in effect, is that he has discovered a way of slowing down and suspending the English sentence – or let’s say the American sentence, because Mr. Leonard is as American as jazz. Instead of writing ‘Warren Ganz III lived up in Manalapan, Palm Beach County’, Mr. Leonard writes: ‘Warren Ganz III, living up in Manalapan, Palm Beach County’. He writes, ‘Bobby saying’, and then opens quotes. He writes, ‘Dawn saying’, and then opens quotes. We are not in the imperfect tense (Dawn was saying) or the present tense (Dawn says) or the historic present (Dawn said). We are in a kind of marijuana tense (Dawn saying), creamy, wandering, weak-verbed. Such sentences seem to open up a lag in time, through which Mr. Leonard easily slides, gaining entry to his players’ hidden minds. He doesn’t just show you what these people say and do. He shows you where they breathe.”

- Martin Amis’ review of RIDING THE RAP

Pryor began to reconstruct himself first through the use of sound—imagining the sound of Frankenstein taking LSD, for example, or a baby “being birthed.” His routines from this time regularly involved gurgles, air blown through pursed lips, beeps. He also began playing with individual words. He would stand in front of an audience and say “God damn” in every way he could think to say it. Or he’d say, “I feel,” in a variety of ways that indicated the many different ways he could feel. And as he began to understand how he felt he began to see himself, to create his body before his audience. He talked about the way his breath and his farts smelled, what he wanted from love, where he had been, and what America thought he was.

- from “A Pryor Love,” a profile piece in The New Yorker, Sept. 13, 1999