By Hugh Kenner
Samuel Beckett, who wrote every thing either in French and English, really expert in brief enigmatic texts, implying enormous visionary works of which the tales are damaged items. Kenner's consultant is designed to aid readers see past the tale in Beckett to the textual content as a complete and to understand the distinctiveness of every of his works.
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Additional resources for A Reader's Guide to Samuel Beckett (Irish Studies)
Com Publication Information: Book Title: A Reader's Guide to Samuel Beckett. Contributors: Hugh Kenner - author. Publisher: Farrar, Straus and Giroux. Place of Publication: New York. Publication Year: 1973. Page Number: 52. in the cluster of a greater system', and who moreover themselves 'tend to disappear as systems', feeling no obligation to appear coherent. People have, it is true, moments of 'backwash' when they seem to cohere, and normal fictionists--Balzac, Jane Austen--focus on this 'nervous recoil into composure' as though it much mattered, because in its throes the characters are tractable.
The whole of his one film script (called Film) is predicated on Bishop Berkeley's principle, esse est percipi . In a comedy extraneous to the film itself, we must imagine Buster Keaton and sundry technicians pondering this oracle at the head of the first page of the shooting script. The Beckett novel or play or film, in fact, is strikingly similar to a non-Euclidean geometry. Euclid's geometry derives from five postulates, all of which strike commonsense as irrefutable, but one of which, the parallel postulate, has a long history of irritating mathematicians who feel it is somehow a little less self-evident than the other four.
The Chorus too is waiting till a doom shall fall, and Cassandra also is waiting for this to happen, and meanwhile is filling the air with predictions no one will listen to (and she knows that they will not listen; she is under a curse of that order). And Clytemnestra is waiting until it shall be time to kill him. But this is different. Aeschylus' play as it draws toward its climax tugs its climax into the domain of the actual. To wait for the inevitable is a waiting of a different quality, so much so that were Agamemnon not killed the play would seem a fraud.
A Reader's Guide to Samuel Beckett (Irish Studies) by Hugh Kenner