“This Running Against the Walls of Our Cage”: Beckett at the Boundary

Lawrence, Tim

doi:10.1007/978-3-319-75399-7_5

“This Running Against the Walls of Our Cage”: Beckett at the Boundary

Tim Lawrence²

Chapter
First Online: 20 April 2018

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Abstract

This chapter details the role played by the limit and limit-states in Beckett’s later prose, moving from L’Innommable (1953) to the short “residua” gathered in the collections Têtes-mortes (1967) and Foirades/Fizzles (1976), by way of a dialogue between Georges Bataille, Maurice Blanchot and Ludwig Wittgenstein. Lawrence demonstrates how Beckett’s late prose plays at the margins between his fictional and critical aesthetics. The chapter ends by discussing rhetorical and figural tropes which reflect on the status of the image, suggesting that a thematic continuity grounded in the interplay between representation, perception and consciousness underpins the changes in the role played by the visual and figural as Beckett’s prose style developed into the “closed space” genre.

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Notes

1.
Nixon, preface to Beckett, TFN, xvii–xix.
2.
Van Hulle, “Writing Relics: Mapping the Composition History of Beckett’s Endgame,” in Samuel Beckett: History, Memory, Archive,” ed. Seán Kennedy and Katherine Weiss (Basingstoke and New York: Palgrave, 2009), 169–82.
3.
See Leslie Hill, Maurice Blanchot and Fragmentary Writing: A Change of Epoch (London and New York: Continuum, 2012), especially 17–19.
4.
Thomas, Romanticism and Visuality, 22.
5.
The precise reasons for the break in their relationship remain uncertain, but was likely precipitated by Beckett’s arrival and success in the theatre. See LIII, 30n2; Dan Gunn, quoted in interview with Rhys Tranter, The Quarterly Conversation 31 (2013): http://quarterlyconversation.com/the-dan-gunn-interview. See also Tim Lawrence, “Representation, Relation and ‘Empêchement’: Aesthetic Affinities in Beckett’s Dialogues with Georges Duthuit,” Journal of Beckett Studies 25, no. 2 (2016): 169–187.
6.
Uhlmann, Samuel Beckett and the Philosophical Image, 140–41.
7.
Scarry, Resisting Representation, 93.
8.
Heidegger, “The Thing,” in Poetry, Language, Thought, 165.
9.
Ibid., 174–75.
10.
For a discussion of Heidegger’s essay and the attendant concept of “thinging” in relation to the Beckettian framing of representation in the essays “Peintres de l’empêchement” and “MacGreevy on Yeats,” see Lloyd, Beckett’s Thing, 120–125.
11.
There is a parallel here to Trish McTighe’s observation about the “process of image-making” in A Piece of Monologue (1979), which “directs the eye of the spectator’s mind to the frame as a perceptual limit, involving the sense of a tactile enclosing darkness, where touch, rather than vision, acts as an epistemological tool.” McTighe, The Haptic Aesthetic in Samuel Beckett’s Drama, 75.
12.
S.E. Gontarski, introduction to Samuel Beckett: The Complete Short Prose, 1929–1989, ed. S.E. Gontarski (New York: Grove, 1996), xxix.
13.
Although little sustained scholarly attention has been paid to the closed space genre in its own right, see Elissa Justine Bell Bayraktar, “Samuel Beckett’s Closed Space Narratives” (PhD diss., Princeton University, 2009).
14.
Beckett himself suggested the titles for all of these collections. The Six Residua (London: John Calder, 1978) repeated the selection of texts that made up the second edition of Têtes-mortes (Paris: Les Éditions de Minuit, 1967; repr. 1972): “D’un ouvrage abandonné”/”From and Abandoned Work”; “Assez”/”Enough”; “Imagination morte imaginez”/“Imagination Dead Imagine”; “Bing”/“Ping”; “Sans”/“Lessness” (the latter added to the “expanded” 1972 edition). However, the Six Residua incorporated The Lost Ones (1972), Beckett’s translation of Le Dépeupleur (1970), which had hitherto only been published as extracts within literary magazines and in standalone editions by Calder, Grove and Minuit.
15.
Oppenheim, The Painted Word, 177–178; and “Beckett and the Livre d’artiste,” in Publishing Samuel Beckett, 187–204; Pilling, A Samuel Beckett Chronology, 194–195. Oppenheim, in The Painted Word, claims the texts were rendered into English “for the undertaking with Johns ” (177); however, Pilling’s account is more cautious, and the dating of events in the Chronology leads towards the conclusion that Beckett had already begun to translate these texts before Johns approached Beckett.
16.
Judith Goldman, introduction to Foirades/Fizzles, by Beckett, illustrated by Jasper Johns, ed. and designed by Katy Homans, exhibition catalogue (New York: Whitney Museum of American Art, 1977), n. pag.
17.
Ibid.
18.
Oppenheim, The Painted Word, 177.
19.
Windows also offer an important figural connection to Blanchot; windows recur as an important trope throughout Blanchot’s prose, symbolising his obsessive themes of liminality and fragmentation. What Blanchot terms “La phénomène de la vitre” in L’Arrêt de mort (Death Sentence, 1948), for Leslie Hill is symbolic of “a complex play of presence and absence, incompletion and finality.” Hill, Maurice Blanchot: Extreme Contemporary (London and New York: Routledge, 1997), 135.
20.
See Peggy Phelan’s insightful account of the connecting points between looking and translation in Beckett’s work through images of silence and the invisible: “Beckett dramatized the rhythm of looking, a rhythm with which many painters are intimate. It oscillates between seeing and blindness, between figuration and abstraction, between the void at the center of sight and the contour of the slender ridge that brooks it.” Phelan, “Lessons in Blindness from Samuel Beckett,” PMLA 119, no. 5 (2004): 1279–1288.
21.
Notice the French, A and B, changes to A and C in the English version, which also repeats the phrase “each went his way.” This is one instance among many, I note in passing, where translation leads to multiplication rather than reduction.
22.
Kenner, Samuel Beckett, 146–50. The theme of doubling and dédoublement was raised by Bernard Pingaud in an early review of Watt’s French translation for Quinzaine Littéraire in 1969. See Pingaud, review of Watt, trans. Larysa Mykyta and Mark Schumacher, in Graver and Federman, Samuel Beckett: The Critical Heritage, 132–136. The theme of doubling is integral to Sarah Gendron’s reading of Beckett’s place in contemporary philosophy. See Gendron, Repetition, Difference and Knowledge in the works of Samuel Beckett, Jacques Derrida and Gilles Deleuze (New York: Peter Lang, 2008).
23.
Nixon and Van Hulle argue that, by labelling these characters as A and B, and A and C, this scene in Molloy echoes Kant’s terminology in the chapter on “Analytical and Synthetic judgments” in the Critique of Pure Reason, marked in Beckett’s “antediluvian set” and in his “Whoroscope Notebook.” See Nixon and Van Hulle, Beckett’s Library, 139–40.
24.
Steven Connor, “‘Traduttore, traditore’: Samuel Beckett’s Translation of Mercier et Camier,” Journal of Beckett Studies 11–12 (1989): 27–46. See also Mooney, A Tongue Not Mine, 101–06;
25.
The most provocative of which is probably the phrase “Fuck Life!” (MC, 474) spoken by Watt during his cameo in the English text of Mercier and Camier, and repeated in Rockaby (1980; CDW, 442).
26.
Solveig Hudhomme, “Les ‘yeux écarquillés’ ou ce qui s’appelle voir dans l’œuvre de Samuel Beckett,” Littérature 167 (2012): 103–113.
27.
Beckett, quoted in Lawrence E. Harvey, “On Beckett, 1961–2,” in Beckett Remembering/Remembering Beckett, ed. James and Elizabeth Knowlson (London: Bloomsbury, 2011), 134.
28.
And, as Nixon and Van Hulle record, in the preface to Beckett’s copy of Madame Edwarda “an unusually large number of individual words and phrases are underlined in pencil.” Nixon and Van Hulle, Samuel Beckett’s Library, 80.
29.
Bataille, Madame Edwarda, in Romans et récits, ed. Jean-François Louette et al., Bibliothèque de la Pléiade (Paris: Gallimard, 2004), 320.
30.
Bataille, Madame Edwarda, trans. Austryn Wainhouse, in The Bataille Reader, ed. Fred Botting and Scott Wilson (Oxford and Cambridge, MA: Blackwell, 1997), 226.
31.
Leslie Hill, Bataille, Klossowski, Blanchot: Writing at the Limit (Oxford: Oxford University Press, 2001), 91.
32.
Ibid.
33.
Shenker, “An Interview with Beckett,” 148.
34.
David Addyman, “En attendant Godot: A New Landscape,” in Samuel Beckett: Debts and Legacies, ed. Peter Fifield and David Addyman (London: Bloomsbury, 2013), 63–85; Addyman, “Where Now? Beckett, Duthuit and The Unnamable,” in “Revisiting Molloy, Malone Meurt/Malone Dies and L’Innommable/The Unnamable,” ed. David Tucker, Mark Nixon and Dirk Van Hulle, special issue, Samuel Beckett Today/Aujourd’hui 26 (2014): 179–192.
35.
Addyman, “Where Now? Beckett, Duthuit and The Unnamable,” 190n4.
36.
Ludwig Wittgenstein, Tractatus Logico-Philosophicus, trans. D.F. Pears and B.F. McGuinness (Abingdon and New York: Routledge, 2001), 6.54.
37.
Fletcher, The Novels of Samuel Beckett, 87–8.
38.
See, for example, Linda Ben-Zvi’s influential article on Beckett and Mauthner, “Samuel Beckett, Fitz Mauthner and the Limits of Language,” PMLA 95, no. 2 (1980): 182–200. Ben-Zvi addresses this issue in a footnote, and retraces the source of the ladder metaphor to a passage in Mauthner’s Beiträge (n19). In a more recent study, Paul Stewart asserts “Beckett came to a similar yet independent understanding of the limitations of language which Wittgenstein discusses.” Paul Stewart, Zone of Evaporation: Samuel Beckett’s Disjunctions (Amsterdam: Rodopi, 2006), 65. For a reading of Beckett and Wittgenstein with reference to this critical history, see Andre Furlani, “Beckett after Wittgenstein: The Literature of Exhausted Justification,” PMLA 127, no.1 (2012): 38–57.
39.
Gabriel D’Aubarède, “Interview with Samuel Beckett,” in Graver and Federman, Samuel Beckett: The Critical Heritage, 217.
40.
Nixon and Van Hulle, Samuel Beckett’s Library, 163–167.
41.
Marjorie Perloff, “Witt-Watt: The Language of Resistance/The Resistance of Language,” chapter four in Wittgenstein’s Ladder: Poetic Language and the Strangeness of the Ordinary (London: University of Chicago Press, 2001), 115–144. Perloff largely reads Wittgenstein’s relation to Beckett’s novel Watt through biographical accounts of Beckett’s work in the Gloria SMH Resistance cell.
42.
Elizabeth Barry, Beckett and Authority: The Uses of Cliché (Basingstoke and New York: Palgrave Macmillan, 2006), 188–90.
43.
Andre Furlani, “Earlier Wittgenstein, Later Beckett,” Philosophy and Literature 39, no. 1 (2015): 64–86. See also Furlani, “The Contradictions of Samuel Beckett,” Modernism/modernity 22, no. 3 (2015): 449–470; and Beckett after Wittgenstein (Evanston, IL: Northwestern University Press, 2015).
44.
Take, for example, Furlani’s assertion that Wittgenstein’s thought “fostered and even emboldened” Beckett’s purposes in his later work, an assertion made with reference to memoirs by Barbara Bray and E.M. Cioran, where both men are seen to occupy a “limit situation” similar to the one reflected in their work. Furlani, “Earlier Wittgenstein, Later Beckett,” 66, 71.
45.
Beckett’s letter of thanks to Lawrence Shainberg for Rush Rees’s Recollections of Wittgenstein affirms he is reading the book “with great interest,” but strikes an appropriate note of caution, wherein ignorance is reaffirmed against conscious appropriation: “No, I never got anything from W[ittgenstein]. Indeed I begin belatedly to wonder if I ever got anything from anybody, so stupid was I.” Beckett to Shainberg, 27 April 1984, LIV, 640.
46.
Terry Eagleton, “Wittgenstein’s Friends,” in Against the Grain: Selected Essays (London: Verso, 1986), 99.
47.
Wittgenstein, Tractatus Logico-Philosophicus, 5.632–5.633.
48.
Ibid., 6.4311.
49.
Shane Weller, A Taste for the Negative: Beckett and Nihilism (London: Legenda, 2005), 40.
50.
It is also indicative of the relative lack of serious attention paid to Wittgenstein’s philosophy within Beckett studies that the two other major studies on death in Beckett’s writing—Steven Barfield, Matthew Feldman and Philip Tew, eds. Beckett and Death (London and New York: Continuum, 2012) and Christopher Ricks, Beckett’s Dying Words—leave Wittgenstein wholly unmentioned except for one passing citation from the isolated line “Death is not an event in life: we do not live to experience death” in Ricks’s study. See Ricks, Beckett’s Dying Words, 50.
51.
Merleau-Ponty, Phenomenology of Perception, 92.
52.
Bertrand Russell, introduction to Wittgenstein, Tractatus Logico-Philosophicus, xix, quoted in Nixon and Van Hulle, Beckett’s Library, 250n66.
53.
Wittgenstein, “A Lecture on Ethics,” The Philosophical Review 74, no. 1 (January 1965): pp. 11–12.
54.
Wittgenstein, Notebooks 1914–16, ed. G.H. von Wright and G.E.M. Anscombe (Oxford: Blackwell, 1969), p. 83.
55.
Ibid.
56.
Wittgenstein, Tractatus Logico-Philosophicus, 6.421.
57.
Hanne Appelqvist, “Why does Wittgenstein say that ethics and aesthetics are one and the same?” in Wittgenstein’s Tractatus: History and Interpretation, ed. Peter Sullivan and Michael Potter (Oxford: Oxford University Press, 2013), 40.
58.
Bryan Magee, “Schopenhauer’s influence on Wittgenstein,” in The Philosophy of Schopenhauer, rev. edn (Oxford: Oxford University Press, 1997), 311–338. See also Christopher Janaway’s partial response, which takes issue with Magee’s assertion of Schopenhauer’s singular influence over Wittgenstein’s thinking, in “Remarks on Wittgenstein and Nietzsche,” chapter thirteen in Self and World in Schopenhauer’s Philosophy (Oxford: Clarendon, 1989), 317–358.
59.
Sophia Vasalou, Schopenhauer and the Aesthetic Standpoint: Philosophy as a Practice of the Sublime (Cambridge: Cambridge University Press, 2013), 77–81.
60.
Allan Janik and Stephen Toulmin, Wittgenstein’s Vienna (London: Weidenfeld and Nicolson, 1973). See especially chapter five, “Language, Ethics and Representation,” 120–166.
61.
Wittgenstein, On Certainty, ed. G.E.M Anscombe and G.H. von Wright, trans. Denis Paul and G.E.M Anscombe (New York: Harper Torchbooks, 1972), 248.
62.
Ibid., 253.
63.
Ibid., 613.
64.
Lee Braver, Groundless Grounds: A Study of Wittgenstein and Heidegger (Cambridge, MA and London: MIT Press, 2012), 194.
65.
Irit Degani-Ratz, “Cartesian Fingerprints in Beckett’s Imagination Dead Imagine,” Journal of Beckett Studies 21, no. 2 (2012): 225.
66.
Ibid., 225–26.
67.
Ibid., 228.
68.
Wittgenstein, Tractatus Logico-Philosophicus, p. 3.
69.
Ibid., 4.114.
70.
Ibid., 4.12, 4.121.
71.
See Marie McGinn, “Saying and Showing and the Continuity of Wittgenstein’s Thought,” Harvard Review of Philosophy 9 (2001): 24–36.
72.
Blanchot, The Space of Literature, trans. Ann Smock, paperback ed. (Lincoln and London: University of Nebraska Press, 1989), 134.
73.
See also James Hansford, “‘Imaginative Transactions’ in ‘La Falaise’ ,” repr. in The Beckett Studies Reader, ed. S.E. Gontarski (Florida: University Press of Florida, 1993), 202–212, which connects figures in texts such as “La Falaise” and “Pour Avigdor” to Beckett’s critical theory of “empêchement.”
74.
As Garin Dowd remarks, the “figure of the threshold” is one among “a wider range of spatial configurations,” and as such thresholds “are necessarily at once embedded within and blended with the spaces thus evoked.” Dowd, Abstract Machines, 245.
75.
Salisbury, Samuel Beckett: Laughing Matters, Comic Timing, 233.
76.
See Maude, Beckett, Technology and the Body, 101–103.
77.
Guillaume Gesvret, “Espace et affect dans les dernières œuvres de Beckett: variations d’échelle,” in Samuel Beckett 2: Parole, regard et corps, ed. Llewellyn Brown, La Revue des lettres modernes (Caen: Lettres modernes Minard, 2011), 97.
78.
Maurice Blanchot, The Infinite Conversation, trans. Lydia Davies (Minneapolis: University of Minnesota Press, 1993), 324; translation of: “L’image […] est essentiellement double, non seulement signe et signifié, mais figure de l’infigurable, forme de l’informel, simplicité ambiguë qui s’adresse à ce qu’il y a de double en nous et réanime la duplicité en quoi nous nous divisons, nous nous rassemblons indéfiniment.” Blanchot, L’Entretien infini (Paris: Gallimard, 1969), 476.
79.
Blanchot, The Infinite Conversation, 324–325; translation of: “L’image tremble, elle est le tremblement de l’image, le frisson de ce qui oscille et vacille: elle sort constamment d’elle-même, c’est qu’il n’y a rien où elle soit elle-même, toujours déjà en dehors d’elle et toujours le dedans de ce dehors, en même temps d’une simplicité qui la qui la rend plus simple que tout autre langage et est dans le langage comme la source d’où il ‘sort’.” Blanchot, L’Entretien infini, 476.
80.
“The graphic portrayal of living experience, through enargeia, is intended to construct a credible image which will take the audience into the presence of an object by attempting to place things before the eyes.” Gerard Paul Sharpling, “Towards a Rhetoric of Experience: the Role of Enargeia in the Essays of Montaigne,” Rhetorica 20, no. 2 (2002): 173–192. Enargeia would also prove an immensely important concept for the development of the practice of art criticism in France, especially Diderot and Baudelaire’s Salons. In spite of their display of contempt for the “Paris school,” Beckett’s essays on art seem to uneasily call upon this tradition. See Alexandra K. Wettlaufer, In the Mind’s Eye: The Visual Impulse in Diderot, Baudelaire and Ruskin (Amsterdam and New York: Rodopi, 2003).
81.
Wittgenstein, Tractatus Logico-Philosophicus, 2.1511, 2.1515, 2.2.
82.
In constructing a connection between mental picturing and linguistic expression, enargeia also intersects with ekphrasis. Indeed, theories of enargeitic representation from Rhetor to Montaigne provided a framework which legitimised ekphratic depictions of painting and poetry as “sister arts.” See Ruth Webb, Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice (Farnham and Burlington: Ashgate, 2009); Heinrich F. Plett, Enargeia in Classical Antiquity and the Early Modern Age: The Aesthetics of Evidence (Leiden: Brill, 2012), especially chapter six, “The Poetics of Ekphrasis and Enargeia,” 57–61, and chapter twelve, “Ut Pictura Poesis,” 89–119.
83.
Wittgenstein, Tractatus Logico-Philosophicus, 7.
84.
As James Helgeson observes, Wittgenstein’s philosophy was largely passed over in silence in France until the 1960s. Against the delayed translation and dissemination of his writing (the first edition of Wittgenstein’s writing in French was a double edition of the Tractatus and Philosophical Investigations, translated by Pierre Klossowski, published in 1961), Blanchot’s brief engagements with his philosophy take on a deeper significance than they would in the Anglophone context. See Helgeson, “What Cannot Be Said: Notes on Early French Wittgenstein Reception,” Paragraph 34, no. 3 (2011): 338–357.
85.
Blanchot, “Where Now? Who Now?” 210; translation of: “quand elle ne parle pas, elle parle encore, quand elle cesse, elle persévère, non pas silencieuse, car en elle le silence éternellement se parle.” Blanchot, “Où maintenant? Qui maintenant?” 286.
86.
Blanchot, The Writing of the Disaster, trans. Ann Smock, new edn (Lincoln, NE: University of Nebraska Press, 1995), 10–11; translation of: “viendrait de ce qu’il croit que l’on peut montrer là où l’on ne pourrait parler. Mais, sans langage rien ne se montre. Et se taire, c’est encore parler. Le silence est impossible. C’est pourquoi nous le désirons.” Blanchot, L’Écriture du désastre (Paris: Gallimard, 1980), 23.
87.
Blanchot, The Infinite Conversation, 329; translation of: “ainsi se trouve justifiée, dans le cas de Beckett, la disparition de tout signe qui ne serait signe que pour l’œil. Ici, ce n’est plus la puissance de voir qui est requise: il faut renoncer au domaine du visible et de l’invisible, à ce qui se représente, fût-ce négativement. Entendre, seulement entendre.” Blanchot, L’Entretien infini, 482.
88.
Blanchot, L’Entretien infini, 487–97; The Infinite Conversation, 332–338.
89.
Blanchot, “The Search for Point Zero,” in The Book to Come, 209.
90.
Blanchot, “La recherche du point zéro,” in Le Livre à venir, 285.
91.
Blanchot, The Infinite Conversation, 299.
92.
Blanchot, L’Entretien infini, 440.
93.
Figurations of “ungraspable” and “unknowable” states lying outside the ‘subject-object relation,’ could also be understood according to Adorno and Horkheimer’s critique of the construction of subject and object as a symptom of Enlightenment claims to rational “mastery” in the Dialectic of Enlightenment (1944). See Max Horkheimer and Theodor Adorno, Dialectic of Enlightenment, trans. John Cumming (London and New York: Verso, 1997), especially pages 13 and 26. Adorno also draws upon this critique in his notes towards the immeasurably influential “Trying to Understand Endgame ,” asserting that the play “takes place in a zone of indifference between inner and outer […] the nadir of what philosophy’s construction of the subject-object confiscated at its zenith.” Theodor Adorno, “Notes on Beckett,” Journal of Beckett Studies, 19 no.2 (2010): 168.
94.
Trésor de la langue française, s.v. def. 1. On uses of this rhetorical device in scholarship on Beckett, see Laura Maxia, “Samuel Beckett entre abstraction et figuration: Une critique en mouvement (1990–2010),” in “Filiations & Connexions/Filiations & Connecting Lines,” ed. Yann Mével, Dominique Rabaté and Sjef Houppermans, special issue, Samuel Beckett Today/Aujourd’hui 23 (2011): 245–259.
95.
Bruno Clément, L’Œuvre sans qualités: Rhétorique de Samuel Beckett (Paris: Éditions de Seuil, 1994), 180.
96.
Driver, “Beckett by the Madeleine,” in Graver and Federman, Samuel Beckett: The Critical Heritage, 220.
97.
Weller, A Taste for The Negative, 59.
98.
Leslie Hill, Beckett’s Fiction: In Different Words, 52.
99.
Bataille, “Le silence de Molloy,” Critique 48 (1951): 387–396, repr. Œuvres Complètes, vol. 12 (Paris: Gallimard, 1980), 86.
100.
Bram van Velde, quoted in Word and Image: Samuel Beckett and the Visual Text/Mot et image: Samuel Beckett et le texte visuel, ed. Breon Mitchell and Lois More Overbeck (Atlanta, Georgia: Emory University Press, 1999), 51.

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Lawrence, T. (2018). “This Running Against the Walls of Our Cage”: Beckett at the Boundary. In: Samuel Beckett's Critical Aesthetics. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-75399-7_5

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