The Cocoon will be hosting a series of guest posts by philosophers who write fiction or poetry. The aim of this series of guest posts will be to explore how we can express philosophical ideas in formats that go beyond the standard academic article or monograph. By looking at the work of philosophers who do this, the hope is also to demonstrate that philosophy is much bigger and broader than narrow norms of professionalization suggest. We will feature blogposts by established academics, as well as graduate students and academics outside of the tenure track. Our first guest post is in the form of an interview, and features Sophie-Grace Chappell (Professor of Philosophy at Open University), who tells us about her poetry.
How long have you been writing poetry and fiction and other non-philosophical writing?
Longer than I’ve been writing philosophy. The first philosophy I tried to write was A Theory Of Everything, a complete metaphysics, a catalogue of all existents, when I was about 9. But that lasted about three pages, and it was a one-off, because I went to the town library and discovered that Aquinas had beaten me to it; most annoying. And before that I had already written lots of non-philosophy.
I had various ambitions as a small child, including joining the “clever men at Oxford” that Mr Toad compares himself to in The Wind in the Willows. Specifically, I wanted to be Oxford Professor of Greek. I didn’t start wanting, intermittently, to be a Philosophy professor till I was about 16. And even when I did encounter the formal study of philosophy, at Oxford in 1984, one of my first main objections to it as a subject was that it wasn’t creative—it was about criticising, not making; it was pulling things apart, not putting them together. As an undergraduate I didn’t like that about philosophy; but then, I didn’t like it about lit crit either. It took me a long time to see, first, how criticising things is valuable too, and secondly, how, anyway, writing philosophy can be creative. And literary criticism as well.
Whatever else changed, I always wanted to be a writer. So, from the beginning, I wrote. From about seven onwards, when I read The Hobbit and The Lord of the Rings, there was lots of sub-Tolkien stuff, both prose and verse, and I invented maps and languages like Tolkien too. My made-up languages were probably better than my made-up worlds. But surely this is one of the main roots of being a writer—parallel in its way to one root of being a musician, I suppose. You read things and you think “That’s marvellous, could I do that? Or anything like it?”
Probably it was partly Tolkien’s fault, and partly the Lake District’s, that as an adolescent trying to write poems I got stuck on the Romantics, all cloud-capped crags and babbling becks and trumpeting torrents. I was, in James Stephen’s wonderful phrase, bleating articulate monotony. I needed, of course, to do something more than mere imitation. And I couldn’t find a voice of my own that wasn’t sub-Wordsworth or, worse, sub-Tennyson or sub-Tolkien.
When I was in the sixth form, so between 16 and 18, three things unstuck me. One was Mel Shewan, an English teacher at school whose persona was Geordie working-class down-to-earthness. Via Dylan Thomas, and William Blake, and Gerard Manley Hopkins, and Philip Larkin, and Ted Hughes, and R.S.Thomas, and Seamus Heaney, and Coleridge and Keats and Shakespeare and Yeats and, yes, even old Wordsworth and Tennyson, Mel Shewan helped us see that poetry is neither swords-and-sorcery, nor a stuck-up fop in a floppy shirt swooning over a snowdrop. It’s elemental, it comes from the dark places within you, from the cellars or Minotaur-labyrinths of the psyche, from the gut. But it’s also real, and this-worldly.
The second thing was the Mersey Beat poet Steve Turner, whose sharp, witty, hip, up-to-date, and (again) down-to-earth free verse showed me that poetry can be completely contemporary, unpretentious, straight-talking, streetwise—and funny, too. (I love comic verse, and I think in general it’s not taken seriously enough. The best comic poets are never just comic: Michael Rosen, Wendy Cope, Hilaire Belloc, Betjeman, Kipling, Pope.)
And the third was seeing Tony Harrison’s Oresteia at the National Theatre with my parents—my 19th birthday treat in November 1983. That was one of the two greatest theatrical experiences I’ve ever had. (The other was the English Shakespeare Company in Southampton in 1989, all the history plays, Richard II to Richard III in a single day.) Harrison’s Aeschylus was a revelation to me of what a translation from the Greek can be. Again, it’s elemental, it’s verse from the gut, studiedly proletarian, very psychically immediate and powerful. And about as far from Gilbert Murray, God help us, as it’s possible to be.
I’ve been writing poetry, on and off, ever since. I haven’t really kept up other kinds of non-philosophical writing. There’s been a little writing about mountaineering, but only the odd bit, and what I wrote when for example I described this climb was really a prose-poem. If that doesn’t sound too pretentious. All I mean is that I wrote to get it across what it felt like to be there, and to climb that; like most things I write, the narrative subserves the feel, not the other way round.
I don’t think I’m cut out to be a novelist; not sure why, perhaps because of this prioritising of feel over narrative. When you write a novel you show, not say, in the sense that you pare down the description of feeling to let it emerge from the story. And when you write a film script you keep going past where a novelist stops paring down and pare down even further, to make space for the actors and the camera-work to fill back in. It’s not like that with poems; with poems, essentially it’s all there on the page. Poems come naturally to me. Novels don’t, and I imagine a screen-play would still less, if I ever tried to write one.
Maybe it’s also a lack of long-distance stamina. Apart from the translations, my poems tend to be short; if I write something long, it’s probably a philosophy book. On the rare occasions when I’ve tried to write a novel myself, what I write never stands up even to my own scrutiny; I reread and I think “No, people don’t talk like that or act like that; your take was so naïve, and I’m not sure what’s changed since you wrote this, but somehow, now, you know better than that.”
Or maybe it’s because, with a few exceptions (Thomas Mann, Virginia Woolf, A.S.Byatt, Evelyn Waugh, John Updike, E.M.Forster), I don’t myself much enjoy “the modern novel”. I love Dickens and George Eliot and Tolstoy and Dostoevsky and Victor Hugo and Moby Dick, but most things after that just bore me. Also some very canonical novels, in particular those of Hardy and Lawrence, I actively detest. It’s ideological, I’m afraid: I think both Hardy and Lawrence, in their very different ways, had quite preposterous world-views. And their novels are nothing without their world-views. One would, to paraphrase Oscar Wilde, need a heart of stone to read the dénouement of Jude the Obscure without roaring with laughter. Which at least beats Sons and Lovers, where there’s not a laugh to be had in all its 350 pages of portentous, lugubrious, tortuous, ill-digested adolescent angst. Can’t be doing with it.
Also—the feel/ narrative contrast again—the things in modern novels that I do enjoy are very often the lyrical set-pieces: Moby Dick is I think the greatest American novel for just this reason, for Melville’s fantastic set-pieces. But then when I read the purple passages I’m going “Why not take away all this plot-flannelling, all this he-said-she-said yada-yada, all the tedious logistics of getting X and Y from A to B as the plot boringly requires, and just cut to the chase already? But you know, when you get to the chase, the fact that it’s typeset as prose is merely accidental: the chase is actually a piece of poetry.”
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