The Paris Review - Fall 2016
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INTERVIEWER<br />
How did it violate your opinions, and which opinions did it violate?<br />
PRYNNE<br />
Well, in the era of <strong>The</strong> White Stones there is a certain implicit metaphysical<br />
idealism and quasi-religious vocabulary, with which in retrospect I have<br />
not been altogether comfortable. <strong>The</strong> tendency is recognisably English; it’s<br />
difficult to avoid vocabulary of that kind. <strong>The</strong> Kazoo Dreamboats venture<br />
pushed me into this other territory quite strongly, and opened some areas<br />
of contradiction that were unavoidable. I’d already been seriously thinking<br />
about dialectics as a method of confronting certain kinds of opposition or<br />
contradictory structures of thought.<br />
<strong>The</strong> one major thing was this extremely unexpected and forceful presence<br />
of Langland and the Piers Plowman enterprise. He just appeared. I took<br />
that very seriously. Partly because the structural contradictions in Langland’s<br />
thought were so central to the whole idea of his being a poet and doing the<br />
tasks of poetry. <strong>The</strong> Franciscan idea of a sacred poverty was so important<br />
to him and was so visibly violated by everything in the social world around<br />
him. He cares deeply, and is worried stiff by what kind of answers he can find<br />
to the questions of human conduct, the questions of equitable justice, the<br />
questions of honorable satisfaction of one’s sacred religious duties. <strong>The</strong> line<br />
movement and the whole structure of these rather long lines that Langland<br />
writes are movements of profound worry. He suffered this poem, and didn’t<br />
avoid what writing it seems to have thrust upon him.<br />
At the same time, there were other thematic elements that came into<br />
this poem of mine, unexpectedly and without preparation, one of which was<br />
Parmenides. When Parmenides swam into view, it was partly because of the<br />
way in which this great poem of his, this philosophical treatise, is presented<br />
as a strange voyage in which the speaker mounts a chariot into the heavens<br />
and makes a celestial course across the sky. I was able, because I had this<br />
laptop with me with fortunately all the right connections, to access a whole<br />
translation of Parmenides and to reread it pretty thoroughly right there on<br />
the screen. To my surprise, I more or less identified what I thought was the<br />
main thrust: the Parmenidean argument about being, and the vocabulary<br />
used to describe the questions of being and non-being. I found myself in<br />
quite rigorous disagreement with that argument. Well, I had never thought<br />
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