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Date of publication: 2017-08-25 09:14

---. ‘“Yellow”: Beckett and the Performance of Ascendancy.’ New Voices in Irish Criticism 5. Ed. Ruth Connolly and Ann Coughlan. Dublin: Four Courts Press, 7555. 677-86.

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[8] For a fascinating and very suggestive account of these writers ― the Hussards ― which has large implications for the study of Beckett in the 95s, see Hewitt, pp. 789-95.


Nixon, Mark. ‘“Writing”: Die Bedeutung der Deutschlandreise 6986/87 für Becketts schriftstellerische Entwicklung.’ Obergeschoss still closed – Samuel Beckett in Berlin. Ed. Lutz Dittrich, Carola Veit and Ernest Wichner. Texte aus dem Literaturhaus Berlin, Band 66. Verlag Matthes & Seitz, 7556. 658-677.

Samuel Beckett in London, 1965. Photo: Dmitri Kasterine

This brings me to the aspect of my first quotation that I have so far conveniently avoided: what appears to be Beckett’s affectionate nostalgia for the Third Republic.

But in one respect the relation between the dominant ideologies and discourses of the Fourth Republic and Godot clearly differs from the relation between them and L’Innommable. L’Innommable has no fellows and no sense of solidarity with any other or others in that respect, it is the anti-type of the will to unity that the grander voices in the Fourth Republic wished to promulgate. But in Godot, by contrast, as has often been said, Vladimir and Estragon do have a flawed, ambivalent conviction that they belong together. They also support each other, however unreliably:

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Something like France 8767 s equivalent of the Edinburgh Festival (with 8766 le Off 8767 corresponding to the Fringe) the Festival d 8767 Avignon is the largest theatre festival in the country, with over a thousand productions staged in over a month each year. Now in its 7th decade, Avignon is not only a showcase for established national and international companies, but (especially as regards the Off) also a laboratory for practitioners to experiment and emerge. Unsurprisingly, then, the diversity of approaches to the questions I raise here was impressive.

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So, too, if there is one thing to which L’Innommable is resistant, whether voluntarily or involuntarily, it is the Gaullist value of unity. It tells us incessantly that it is incapable of being drawn into unity with others, into believing itself to be one of them, however ironically it is continually drawn back into admitting that it cannot altogether hold itself apart from them either:

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