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What Matter Who's Speaking : Samuel Beckett and the Author-Function

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What Matter Who's Speaking : Samuel Beckett and the Author-Function 2..O\ c z ç What Matter Who's Speaking: Samuel Beckett and the Author-function Russell Smith Department of English, University of Adelaide Submitted for the degree of PhD in September 2000 .for Sarah Table of contents "Someone".., .4 The Other Beckett............. .9 I can't go on................. 17 It made you wmt to lie down in a corner and never get up again....... 29 PART 1: WIIO SPEAKS? ........35 The question of the author ....................... 36 Autobiography and anonymity.... ............. 42 Beckett and the author-function................. ................... 48 PART 2: FOUCAULT, BECKETT, AllD THE AUTHOR-FUNCTION...................................... 50 INtRooucrroN.. 52 Fouc¡,ulr AND BECKETT l: "Ws¡T Is AN AurHoR?" ............ 57 Introduction 57 Indffirence, exteriority, deqth............ 66 The privileges of the author: oeuvre and ëcriture. 77 The name of the author 85 The author-function .......... 97 Founders of dis cursivilt 109 Conclusion 113 THE DISCOURSE oN BECKETT 125 Responses to Foucault 125 " Beckett " and B eckettian discourse 140 Fouclult,ttt¡ Becrgrr 2'. "Tuø On¡gn or DrscouRSE" .. 151 The wish to remain anonymous... r51 I would have liked 154 Teacher and author.,. 160 The obligation to speak and the right to remain si\ent............ t66 PART 3: BECKETT'S AESTHETIC ECONOMIES ....172 INrnoouctloN ..........,.,,.,.., 17 4 Tns INoI¡TeRENCE ENGINES ................... 178 The Combinatorial ............ ................... I 78 Exhaustion ................... I I I Use-value, exchange-value, aesthetic-value ................... 184 The repres entation of need ................... I 88 The freedom of indffir enc e ........................ ,.................. 193 Tn¡, Colr-scrroN AND rss OBUvR¡ 196 Two modes of collecting. 196 The aesthetic object and the commodity form 199 Authorship and commodity culture..... 208 Collecting Ùeckett .,........... 2t7 Reader and collector 221 A Paradise of Consumption ............... 224 The formalism of the co|\ection.,........,........... 228 Collecting culture.......... 232 PROPERTY AND THE ECONOMY OF THE GIFT 245 Possession and value ... 245 P o s s es s ion or a, o i, ioiì 249 The drive to stasis"ry.p "'r' 252 Murphy........ 255 First Love.... The Expelled The Calmative .......................... The End....... The politics of impoverishment Reading and idleness "Il n'y a pas d'oeuvre chez Beckett" Beckett and Shakespeare...,..,............ WORIß CITED Editions of Samuel Beckett's works Other work cited............. 1V Abstract The post-structuralist incarnation of Beckett Studies has promoted Beckett as a radically "anti-authorial" writer who resists or subverts the traditional prerogatives of authorship. At the same time, however, essays, books and conferences devoted solely to Beckett continue to proliferate. I try to account for this situation, not through a reading ofBeckett's texts, but through a reading of "Beckett" as an author-function. I wish to resist the notion of a subversive Beckett appropriated by the cultural mainstream, by tracing the discursive limits of avant-garde writing, and by exploring how Beckett paradoxically reinforced the haditional author-function even as he appeared to challenge it. There are two main ways of considering the author-function: as a discursive and as an economic category. The two main sections of the thesis reflect this division. The first is an extended discussion of the work of Michel Foucault. Beckett is prominently quoted in both Foucault's major essays on the author-function, in what has always been seen as a confirmation of Beckett's subversive anti-authorialism. However, I argue that "'What Is an Author?" in fact marks Foucault's rejection of avant-garde literature and the notion of writing as transgressive: the quotation of Beckett's "What matter who's speaking" must therefore be taken as profoundly ironic. So too, "The Order of Discourse" prompts a consideration of the distinction between the discursive roles of teacher and author: as a teacher, Foucault must accapt the obligation to speak, to explain; as an author, however, Beckett famously remai¡ed silent, explained nothing. The second section explores the relationbetween aesthetic and economic discourses of value. I discuss how the logic ofthe collection constructs Beckett's oeuvre as ahistorical, autonomous, and self-contarned. In a reading of Murphy and the novellas I argue that Beckett's "aesthetics of impoverishment" depends on a cultural politics of the inheritance, whereby labour and the commodity economy is avoided in favour of idleness and an economy of the gift. I end by suggesting that anti-authorial readings end up "transcendentalising" Beckett, a tendency best countered by focussing, neither on the text nor on the author, but on the space of their conjunction: the writer at work. V Acknowledgements The progress of this thesis involved so many false starts, so many wrong turns and dead ends that I sincerely thank everyone who has supported me along the way for their patience, their generosity and their good faith. In particular, I thank my supervisor Professor Penny Boumelha for, above all, her perseverance, and for her deft critical judgement in guiding the work into its final form. I wish to thank the staff and the postgraduates of the English Department at Adelaide University for their collegial support, and in particular Heather Kerr, for providing inspiration at critical moments, Simon Robb, for his love of writing and his spirited encouragement of my work, and Paul Lobban, for his moral support in our troubled encounters with academia. I am also grateful to the English Department, the Faculty of Arts, and the Walter and Dorothy Duncan Trust for their generous financial support in enabling me to attend the conference "Beckett Against the Grain" in York in 1999. My thanks are due to Henry Kristall for his wise counsel through my creative impasses; to Stéphanie Ravez for overseeing my French translations; to Nicole Matthews for being a role model of intellectual energy and integrity; and to Quentin Grant for our many conversations about writing, music, and "the bards". My thanks also to Maxine and Gordon Goulding, whose program of alcoholic inducements in return for 5000 words in a week proved difficult and yet achievable enough to keep me interested when the going got tough. I also thank my family: Barb, Ben, Jill, Nick, Elsie, Iris, and especially my parents Pauline and Denys, whose patience, constancy, and unconditional love kept me going, not to mention the countless dinners and many more bottles of wine. Finally, to my partner, Sarah Goulding, whose determination to see this finished overcame my resistance to hard work, who read every word of every draft, who was brave enough to offer the criticism I always asked for but never wanted to hear, and who supported me financially through the lean times, I can only say: this is yours. What Matter Who's Speaking: Samuel Beckett and the Author-function lntroduction BoRGES AND I The other one, the one called Borges, is the one things happen to. I walk through the streets of Buenos Aires and stop for a moment, perhaps mechanically now, to look at the arch of an entrance hall and the grillwork on the gate; I know of Borges from the mail and see his name on a list of professors or in a biographical dictionary. I like hourglasses, maps, eighteenth-century typography, the taste ofcoffee and the prose of Stevenson; he shares these preferences, but in a vain way that turns them into the athibutes ofan actor. It wouldbe an exaggeration to say that ours is a hostile relationship; I live, let myself go on living, so that Borges may contrive his literature, and this literature justifies me. It is no effort for me to confess that he has achieved some valid pages, but those pages cannot save me, perhaps because what is good belongs to no one, not even to him, but rather to the language and to tradition. Besides, I am destined to perish, definitively, and only some instant of myself can survive in him. Little by little, I am giving over everything to him, though I am quite aware of his perverse custom of falsifying and magnifying things. Spinoza knew that all things long to persist in their being; the stone eternally wants to be a stone and the tiger a tiger. I shall remain in Borges, not in myself (if it is true that I am someone), but I recognize myself less in his books than in many others or in the laborious strumming of a guitar. Years ago I tried to free myself from him and went from the mythologies of the suburbs to the games with time and infinity, but those games belong to Borges now and I shall have to imagine other things. Thus my life is a flight and I lose everything and everything belongs to oblivion, or to him. I do not know which of us has written this page. Jorge Luis Borges, Labyrinths (Borges 1986,282-83) t'Someone" I remember as child climbing with my parents to the top of a famous lookout. I no longer remember the place, or the fabled magnificence of the view, but there must have been a sheer drop below us, for there was a guardrail over which I leaned. What I remember now, however, is not the exhilarating vertigo of great height, but the queer and unpleasant vertigo I experienced when I read the words written in large black letters on the metal rail: I V/AS HERE BUT I DIDN'T WRITE THIS. I remember the fearful apprehension these words caused me, as I tried to think what demonic power might be capable of such a mysterious manifestation. Not daring to speak of my perplexity, I silently tucked the words away in my mind, turning them over and over with troubled agitation, trying to resolve the doubt and terror they instilled. No doubt I eventually satisfied myself that the words .'-ere not, in fact, some sort of evil spell cast by a malevolent magician, but the clever work of an ordinary mortal with no apparent ulterior motive.
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