By Leland de la Durantaye
Leland de los angeles Durantaye is helping us comprehend Beckett’s strangeness and infamous hassle by way of arguing that Beckett’s lifelong crusade was once to mismake on purpose—not to denigrate himself, or his viewers, or reconnect with the kid or savage inside, yet simply because he believed that such mismaking is within the curiosity of paintings and may form its destiny.
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Extra info for Beckett's Art of Mismaking
446; 82). 9; 15). The ﬁrst book-length study of Beckett’s work concludes that “Beckett’s stories tell of and treat the end of stories [Seine Geschichten handeln vom Ende der Geschichten]” (Gessner 1957, 113). Two years later Blanchot would write of The Unnamable that “it is no longer a question of a story” because the book “begins 3 4 • B e c k e t t ’ s a rt o f m i s m a k i n g there where it is impossible to continue, at the point beyond which there is nowhere to go” (Blanchot 1959, 286; 290).
99). In this he follows the movements of his maker. Beckett displayed a restlessness in his departures from city to city, from Dublin to Paris to London, as though he had adopted as his own the slogan he invented for his imaginary French poet, Jean du Chas: “va t’embêter ailleurs” (Beckett 1984, 38). ”) 5 Beckett returned to Dublin again and again, each time with as much misgiving as the last. 637). 374). 567). This is not to say that the city served as a constantly safe haven to the young Beckett, who wrote to McGreevy in 1931, “Paris (as such) gives me the chinks at the moment and it’s about the last place in the world I want to go.
8 Dream of Fair to Middling Women and More Pricks Than Kicks express a wide variety of anxieties, but none so intense as that concerning form. Midway through the novel there is a connecting (or, perhaps, disconnecting) inter-chapter entitled “UND” (German for “AND”) wherein the narrator discusses the difﬁculties his disorderly tale creates. In mock dismay he exclaims: “And we with not a single Chesnel in our whole bag of tricks! (You know Chesnel, one of Balzac’s Old Curiosities)” (Dream, 118).