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Closed Spaces: Beckett and Confinement James Little Doctor of Philosophy in English Trinity College Dublin August 2017

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Closed Spaces: Beckett and Confinement James Little Doctor of Philosophy in English Trinity College Dublin August 2017 Closed Spaces: Beckett and Confinement James Little Doctor of Philosophy in English Trinity College Dublin August 2017 ii Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. Signature _________________________ iii Summary This thesis is the first sustained study of Samuel Beckett’s career-long engagement with confinement, examining both his use of institutions of coercive confinement as well as the closed spaces of his later prose and drama. Focussing on twenty-two case studies from Beckett’s critical, poetic, dramatic and prose writing, including the seven prose works in which institutions of confinement feature as key locales, it combines a historicist approach to institutional and performance space with the methodologies of genetic criticism (which studies an author’s manuscripts to investigate the geneses of his/her works) and spatial theory. Close readings of Beckett’s texts form the basis for a re-evaluation of his development as a writer and director. Chapter 1 analyses Beckett’s use of images of confinement, which allowed him to formulate key aesthetic problems in his critical monograph Proust, his posthumously published novel Dream of Fair to Middling Women and his short stories ‘Dante and the Lobster’ and ‘Fingal’. Chapters 2 and 3 examine the function of institutional space in Murphy and Watt, two novels in which an asylum setting is central to the narrative development, as well as to the development of Beckett’s own poetics. Chapter 4 studies the ‘decomposition’ of institutional confinement in two of Beckett’s postwar novellas, ‘The End’ and ‘The Expelled’, and his novel Malone Dies. Chapter 5 turns to Beckett’s drama, considering four plays—Endgame, Act Without Words I, Happy Days and Quad— which allow for an analysis of Beckett’s evolving use of closed space as writer and director for stage and screen. Chapter 6 argues that an examination of Beckett’s pronominal experimentation in his poetry, particularly ‘they come’ and ‘Serena I’, can help us understand the radical disintegration of closed space that occurs in his novel The Unnamable. Chapter 7 tracks the relation between space and voice in Beckett’s stage play Not I, a key production of which had its main actor confined in her chair. Chapter 8 examines the intertextual dynamics of two of Beckett’s so-called ‘closed space’ iv prose pieces, Imagination Dead Imagine and All Strange Away. Chapter 9 uses the two plays Beckett wrote for inmates of institutions of confinement, Catastrophe and the unpublished ‘Mongrel Mime’, alongside the torture scenario of What Where, to argue that the study of coercive confinement provided in this thesis can give us a new understanding of Beckett as a political writer. Through an examination of the textual development of Beckett’s works both prior to publication (through a study of his compositional manuscripts) and after publication (with a particular focus on the changes Beckett made to his works in the inherently spatial art forms of performance), this thesis will challenge the model of Beckett’s poetics as simply involving the ‘vaguening’ of topography, while contesting the view that his work takes place in ‘empty space’. As well as giving fresh insight into Beckett’s poetics and aesthetics, confinement provides a unique lens on important topics in his writing, such as the relation between subject and object and the production of space. Due to Beckett’s use of confinement when engaging with such topics as well as his practical manipulation of space in performance, this study of his closed spaces can allow for a reconsideration of the way Beckett worked, the way his work means as well as what his works mean. v Table of Contents Acknowledgements pages vi Abbreviations vii Notes on the Text x Introduction: The Production of Closed Space xi 1 Images of Confinement: Proust, Dream of Fair to Middling Women, 1 ‘Dante and the Lobster’, ‘Fingal’ 2 ‘Light in the Monad’: Murphy 33 3 ‘Who, What, Where, by What Means, Why, in What Way, When’: Watt 59 4 Forms and Forces of Confinement: ‘The End’, ‘The Expelled’, 82 Malone Dies 5 Stages of Confinement: Endgame, Act Without Words I, Happy Days, 104 Quad 6 Learning to Say ‘Not I’: ‘they come’, ‘Serena I’, The Unnamable 146 7 Confining Mouth: Not I 169 8 Confined Bodies in Closed Spaces: Imagination Dead Imagine, 190 All Strange Away 9 The Politics of Confinement: ‘Mongrel Mime’, Catastrophe, 222 What Where Conclusion: Decomposing Space in 14 Henrietta Street 255 Bibliography 266 vi Acknowledgements My greatest debt of gratitude with regard to this thesis is to my two supervisors, Nicholas Grene and Chris Morash. Nicky’s excellence goes beyond what a simple acknowledgement can summarise and I have been extremely lucky to experience his enthusiastic conviction regarding the value of literature. Having joined the project in its second year, Chris provided insight and inspiration which was critical to its development. I have also been fortunate to benefit from the open-minded erudition of Sam Slote throughout my time in Trinity. Specific debts of gratitude to other scholars who provided important assistance are recorded in the footnotes. I am grateful to the Irish Research Council for the Government of Ireland Postgraduate Research Scholarship which funded my research and to the funding bodies (the Graduate Studies Research Travel Fund, the Trinity Trust, TCD School of English, the Harry Ransom Humanities Research Center and the benefactors of the A. J. Leventhal Scholarship) who supported vital research trips. I wish to thank the staff of the Houghton Library, the Harry Ransom Humanities Research Center, the John J. Burns Library, the Library of Trinity College Dublin, the Václav Havel Library and the University of Reading, Special Collections for their helpful professionalism. A special thank-you to the staff at the Library of the University of Nantes for assistance in sourcing research material there. My parents have been a steady source of support throughout the project and I am very happy to record my thanks to them. I am also extremely grateful to my brother Conor and sister Úna for their diligent proofreading. I wish to thank Alice Galea for her advice regarding translation. Any remaining errors are my own. I am grateful to Magda Hejna for her love. It is to her I dedicate this work. vii Abbreviations Published works by Beckett BDMP I – Stirrings Still / Soubresauts and Comment dire / what is the word, digital genetic edn (The Beckett Digital Manuscript Project, module 1), ed. by Dirk Van Hulle and Vincent Neyt (Brussels: University Press Antwerp, 2011) <http://www.beckettarchive.org> BDMP II – L’Innommable / The Unnamable, digital genetic edn (The Beckett Digital Manuscript Project, module 2), ed. by Dirk Van Hulle, Shane Weller and Vincent Neyt (Brussels: University Press Antwerp, 2013) <http://www.beckettarchive.org> BDMP III – Krapp’s Last Tape / La Dernière Bande, digital genetic edn (The Beckett Digital Manuscript Project, module 3), ed. by Dirk Van Hulle and Vincent Neyt (Brussels: University Press Antwerp, 2015) <http://www.beckettarchive.org> BDMP IV – Molloy, digital genetic edn (The Beckett Digital Manuscript Project, module 4), ed. by Magessa O’Reilly, Dirk Van Hulle, Pim Verhulst and Vincent Neyt (Brussels: University Press Antwerp, 2016) <http://www.beckettarchive.org> CDW – The Complete Dramatic Works (1986; London: Faber, 2006) CPSB – The Collected Poems of Samuel Beckett, ed. by Seán Lawlor and John Pilling (London: Faber, 2012) CSP – The Complete Short Prose, 1929–1989, ed. by S. E. Gontarski (New York: Grove, 1995) D – Dream of Fair to Middling Women, ed. by Eoin O’Brien and Edith Fournier (Dublin: Black Cat, 1992) Dis – Disjecta, ed. by Ruby Cohn (1983; London: Calder, 2001) EB – Echo’s Bones, ed. by Mark Nixon (London: Faber, 2014) LSB – The Letters of Samuel Beckett, ed. by Lois More Overbeck, George Craig, Dan Gunn and Martha Fehsenfeld, 4 vols (Cambridge: Cambridge University Press, 2009–16) LSB I, 1929–1940 (2009) LSB II, 1941–1956 (2011) LSB III, 1957–1965 (2014) LSB IV, 1966–1989 (2016) MC – Mercier and Camier, ed. by Seán Kennedy (London: Faber, 2010) MD – Malone Dies, ed. by Peter Boxall (London: Faber, 2010) Mo – Molloy, ed. by Shane Weller (London: Faber, 2009) MPTK – More Pricks than Kicks, ed. by Cassandra Nelson (London: Faber, 2010) viii Mu – Murphy, ed. by J. C. C. Mays (London: Faber, 2009) NHO – Nohow On (London: Calder, 1989) PTD – Proust and Three Dialogues with Georges Duthuit (1965; London: Calder, 1976) TN – The Theatrical Notebooks of Samuel Beckett, gen. ed. James Knowlson, 4 vols (London: Faber, 1992–1999) TN I, Waiting for Godot, ed. by Dougald McMillan and James Knowlson (1993) TN II, Endgame, ed. by S. E. Gontarski (1992) TN IV, The Shorter Plays, ed. by S. E. Gontarski (1999) TFN – Texts for Nothing and Other Shorter Prose, 1950–1976, ed. by Mark Nixon (London: Faber, 2010) U – The Unnamable, ed. by Steven Connor (London: Faber, 2010) W – Watt, ed. by C. J. Ackerley (London: Faber, 2009) Archives BDL – The Beckett Digital Library, ed. by Dirk Van Hulle, Mark Nixon, Vincent Neyt and Veronica Bãlã (Brussels: University Press Antwerp, 2016) <http://www.beckettarchive.org> HL – Houghton Library, Harvard College Library HRC – Harry Ransom Humanities Research Center, The University of Texas at Austin HRC CL – Samuel Beckett papers in the HRC’s Carlton Lake collection HRC SB – Samuel Beckett papers in the HRC’s Samuel Beckett collection JBL – John J.
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