Imaginative language Rayson's imaginative language model, in contrast, tries to convince by appealing to the imagination [3].
So it's facts, imagination and language all rolled into a tight but bouncing ball.
Sotho praises are telegraphic, leaving much to the listener's imagination; their language is poetic, and the sequence of events not necessarily logical.
He no longer has time for a poet like Robert Lowell, who, he says, "had such a tremendous imagination for language but so little for other people".
Tolkien, in inventing Middle Earth, was motivated by an extreme nostalgia, a desire to restore, at least in imagination, the language and folkways of an England uncorrupted by modernity.
He proved to be a novelist with an expansive, eccentric imagination for language, for settings and for plot, a free melder of realism, psychological astuteness, historical research and science fiction.
But something magical happens as you filter personal experience through imagination and language: the composites become characters, and the scraps of lived experience morph, and what you end up with is wholly transformed.
"The themes that fascinate me," she says, "the tricky and often dark interplay between past and present, the human need to define and/or construct reality through imagination and language – run straight through Irish literature".
Chairwoman of the judges, Polish writer Malgorzata Szejnert, described it as an outstanding and masterful book that "conquers the imagination with language that is rich and restrained at the same time".
They're still brilliant pieces of writing: as well as the mad imagination, the language turns over with a poise as sure as the lyrics of Cole Porter, and the reader rides his characteristic anapestic metric schemes with effortless glee.
