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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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