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By Cohn, Ruby; Beckett, Samuel
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Additional resources for A Beckett canon
The sin of having been born” (49); “[Proust] deplores his lack of will until he understands that will, being utilitarian, a servant of intelligence and habit, is not a condition of the artistic experience” (69). In Pilling’s words: “The temptation to read Proust as a kind of template constituted by ideas which Beckett would thereafter seek either to dispel or to disguise [or to reformulate] is, it must be admitted, a very dif‹cult one to resist” (1997, 49). Having quoted pertinent passages in that respect, I will try to resist further prediction.
3 Dream of Fair to Middling Women is a sustained but disjunctive novel. The narrator, a “Mr. Beckett,” calls his story a “virgin chronicle” (118), and that chronicle is at once a distanced autobiography, an exhibition of erudition, a parody of coherent narration, a meta‹ctional ‹ction, and “intricate festoons of words” (226)—a phrase that I borrow from the novel, to epitomize most of Beckett’s writing during this period. Structurally, the book is unbalanced: part “One” occupies less than half a page.
Beckett did not assist with the translation and thought it “not very good” (Federman and Fletcher, 38). “Enueg II” is the third poem in Echo’s Bones and was reprinted in transition (June 1936). It is found in Poems. 14 In the order of publication (but not of writing) the ‹rst enueg describes very speci‹c vexations, whereas the second implies a vexatious world. Written in free verse, “Enueg II” is an unusual Beckett poem in containing punctuation. In spite of its seven stanzas, the poem is brief.
A Beckett canon by Cohn, Ruby; Beckett, Samuel