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Synthesizing Beckett and the Nouveau Roman SYNTHESIZING BECKETT AND THE NOUVEAU ROMAN: TOWARD A BETTER UNDERSTANDING By Jennifer L. O‘Neil A thesis submitted to Sonoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English ____________________________________ Professor J.J. Wilson, English, Chair ____________________________________ Professor Christine Renaudin, French May 2, 2003 Copyright 2003 By Jennifer L. O‘Neil ii AUTHORIZATION FOR REPRODUCTION OF MASTER'S THESIS I grant permission for the reproduction of parts of this thesis without further authorization from me, on the condition that the person or agency requesting reproduction absorb the cost and provide proper acknowledgment of authorship. May 2, 2003 Date _______________________________ Signature iii SYNTHESIZING BECKETT AND THE NOUVEAU ROMAN: TOWARD A BETTER UNDERSTANDING Thesis by Jennifer L. O‘Neil ABSTRACT In the 1950‘s and later, Samuel Beckett was characterized by some critics as a perpetrator of the Nouveau Roman, or New Novel. This does not happen today. The purpose of this study is to decipher the reasons why this claim was made. Was Beckett truly writing what was known as the anti-novel? By comparing the novels of several writers known to be Nouveaux Romanciers, specifically Alain Robbe-Grillet, Nathalie Sarraute, and Michel Butor, to the novels that Beckett wrote at the same time and place I hope to decide once and for all whether Beckett deserves to be numbered among these writers. First, I will explore the theoretical underpinnings of the Nouveau Roman alongside Beckett‘s critical ideas; then I will take a look at the novels themselves to see how they are indeed newly contrived. After studying these four writers side by side, I have concluded that Beckett was indeed partaking of a similar spirit in crafting his Trilogy. His novels written in the late 1940‘s and early 1950‘s have characteristics similar to the Nouveau Roman, especially in regards to form and content. In addition, all four writers were proceeding from the same Modernist influences and moving toward a Postmodern aesthetic. The Nouveaux Romanciers themselves were varied enough in their techniques to allow inclusion of others into their amorphous group, including Samuel Beckett. All of these writers similarly branched out into other genres and even other mediums after their time as novelists. Many never returned to attempt the full novel form again. Chair: ______________________________ Signature MA Program: English May 2, 2003 Sonoma State Univeristy Date iv ACKNOWELDGMENTS It is only with the help of many that this thesis came to be. Many thanks to my Committee. J.J., you were my rock through all of this, giving me more guidance and encouragement than you will ever know. I am proud to be your last Master‘s Student. Christine, you are one of the best literature teachers I have ever met, even if you do usually teach in another language. Special thanks to Scott Miller, the best cheerleader in the world of thesis making. Many heartfelt thanks to my Family, Friends, and Coworkers. To all who listened to me whinge for two years, and still could hardly wait to be excited to see me finish. You are too many to name, but rest assured that I know who each and every one of you are. Finally, two most important acknowledgements: To my darling husband Charlie, who let me cavort with living and dead writers for hours on end without ever once being jealous And This thesis is offered in Memory of my Mother, Angie. Love you always, miss you forever. v TABLE OF CONTENTS Page INTRODUCTION………………………………………………………………… 7 In which purpose of study is discussed and basic connections are illustrated PART ONE: BACKGROUND……………………………………………………. 18 CHAPTER 1 THEORY………………………………………………….. 21 In which the theoretical ideas behind the novels are explored. PART TWO: INVESTIGATION………………………………………………… 45 CHAPTER 2 CHARACTERIZATION………………………………….. 47 In which aspects of character and point of view are compared and contrasted CHAPTER 3 NARRATIVE………………………………..…………… 77 In which aspects of narrative construction, including plot, style, and structure are examined. CONCLUSION…………………………………………………………………. 104 In which deductions are made and everything is tied up with a very pretty bow. BIBLIOGRAPHY……………………..……………………………… 105 vi 7 INTRODUCTION The first graduate class I ever took was a Modernism seminar. Instead of offering the usual Joyce, Woolf, Eliot class my instructor, J.J. Wilson, decided to try something new. Joyce, Woolf, Beckett was a combo that could not be beat for thrills and chills. I had no idea at that time what a significant substitution this would prove to be, for me, on a personal level. I mean, Eliot is alright, but what inquiring mind could stand up to the Irish humor and existential angst that is Samuel Beckett? Mine definitely couldn‘t. I fell for Mr. Beckett, and I fell hard. Three or four long years later, after many a Beckett discussion with J.J. and others, after already deciding to write this thesis on Beckett, I came to the realization that I needed to find some way into the great grandiose subject that is Beckett. Let‘s face it, the critical gristmill has been grinding out studies on Mr. B. ever since it became impossible to ignore him some fifty years ago. How was I going to find something relatively new to write about him, after all that time? How was I going to find that one little hook that no one, or rather relatively few, had noticed? This is where I started to get a little nervous about my future success. 8 I don‘t know where I first came upon the term Nouveau Roman. I had no idea during my career as an English major, and as a slapdash Francophile reader, that there were any such innovative individuals writing in France at the same time Beckett was. I had been distracted by the Theater of the Absurd, its implications and the wealth of resources on the subject. But when I got right down to it, Theater of the Absurd was just as grandiose a subject as Beckett, and one as impenetrable. I guess you could say I was flailing at that point, with Beckett in one hand and Martin Esslin‘s wonderful book in the other. I started grabbing any article I could find, in hopes of nailing down a focus for this project. It was around this time that I began to notice this term that was coming up quite often in relation to Beckett: Nouveau Roman, and I had to wonder what that was. What I found was truly interesting. There exists an amorphous group of writers writing something called the New Novel in France right around the same time Beckett was writing his magnum opuses in French. Bingo! Add to this the fact that critics of the time often lumped Mr. B. in with the Nouveau Romanciers, which they never do today, and you will begin to understand my delight. Who were these guys and why was Beckett associated with them for however little time? These questions seemed viable topics in my mind for a thesis length study. As I began to take an active interest in this new tangent, I found there were about six or eight writers who were considered to be part of the Nouveau Roman group. That seemed like an awful lot of extra reading to me, so I 9 identified a core group, those that were most often mentioned as Nouveaux Romanciers. These three include Alain Robbe-Grillet, Nathalie Sarraute, and Michel Butor. I believe this will prove to be a good representative sample, as no two of the Nouveaux Romanciers are the same, in style or in temperament. In pursuing leads on this topic, I found many articles that mention Beckett in relation to the Nouveau Roman. In the first place, Beckett was included in a few special issues which two journals offered in an attempt to tell their reading public who was writing the Nouveau Roman. In 1958, the Esprit special issue included him with nine other writers, some of whom, like Beckett, are no longer included on the Nouveau Roman roster. Beckett is featured in the Yale French Studies special issue ―Midnight Novelists and others,‖ which came out in 1958 as well, and which I will talk about a little later. There are also many books and journal articles which include Beckett in more specific relation to the Nouveau Roman. Some articles were misleading, su ch as Christine Brooke-Rose‘s ―Samuel Beckett and the Anti-Novel,‖ which did discuss how Beckett was writing the anti-novel but did not place it in any context (i.e. it didn‘t mention any of the other writers). Others were more skewed toward being beneficial for this project. Marcel Thiebaut‘s 1958 article in La Revue de Paris, ―Le Nouveau Roman,‖ talks about Beckett right beside Robbe-Grillet, Sarraute, and Butor! In 1960, Melvin J. Friedman published his article ―Samuel Beckett and the Nouveau Roman‖ in Wisconsin Studies of Contemporary Literature. This is the paramount article, which places Beckett smack dab in the continuum of French Literature 10 and right in the mix with Robbe-Grillet, Sarraute, and Butor. In Lois Oppenheim‘s book Three Decades of the French New Novel, which collects the proceedings of the 1982 colloquium on the Nouveau Roman held at New York University, Beckett is mentioned in a unique relationship to Robbe-Grillet in the speech given by Barney Rosset, Beckett‘s American publisher at Grove Press. He states that he found Robbe-Grillet through Beckett and that, in effect, the desire to publish Waiting for Godot led him to France, and thus to Robbe-Grillet. Ultimately Grove ―worked assiduously to make Robbe-Grillet known to American readers‖ (57).
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