Śląskie Studia Polonistyczne, Nr. 1 (2011), s. 85-95
A large Prologue to the second part of the Face of the Moon by Teodor Parnicki shows
a mechanism of a complicated bureaucratic‑counterintelligence
in Byzantium in the
middle of the fifth century. The task of agents (recruited among unemployed rhetoricians)
is to make the most precise reports, however, as Tomasz Burek, a critic, has
noticed, they do not follow the course of events. After years, similar remarks were
made by Ryszard Koziołek in his work devoted to Parnicki’s trilogy. Referring to these
remarks, the author of the article claims that a dynamic relation between an event and
word in Parnicki’s novel is similar to a „source difference” typical of a language of deconstruction.
Thus, one can speak of analogies between Parnicki’s prose from the 1960s
and Jacques Derrida’s deconstruction deriving from the criticism of phenomenology
at the same time. Eventually, the history taking place seems to be an event muddle in
Parnicki’s works, around which something happens, though, we cannot definitely say
what happens in fact.
Reality, „ungraspable and unembraceable” becomes marked with stereotypical
female features, taking on the status of an unapproachable object of desire. At the
same time, it is being constantly disciplined by écriture masculine, an institutionalised
discourse of a patriarchal culture while a monstrous SCHOLA AGENTORUM from the
Prologue to Parnicki’s novel may successfully be considered a hyperbole of such a discourse.
Maksymian, the main protagonist, chooses another discourse which is confronted
with a Nietzschean principle of vita femina.