Notes

Introduction 1 . Beckett’s short text “La Falaise” is included without title, while Levinas contributed “Nom d’un chien ou le droit naturel” to the 1975 volume. The genre of Levinas’s text is difficult to establish, because it draws on biblical commentary, memoir, parable, philosophy, and short story. It meditates on Exodus 22:31 and on Levinas’s experiences as a prisoner of war, when only the joy of a stray dog—referred to as Bobby—who “would appear at morning assembly and was waiting for us as we returned [from work], jumping up and down and barking in delight” (Difficult Freedom 153) spoke of a recognition of the Jewish prisoners’ humanity. For Bobby “there was no doubt that we were men” (153), and so he is designated “the last Kantian in Nazi Germany, without the brain needed to univer- salize maxims and drives” (153). There is an uncomfortable humor to this that is not alien to the temper of Beckett’s work, although its rela- tion to van Velde is almost as oblique as that of Beckett’s piece. Other contributors to the book include Pierre Alechinsky, Maurice Blanchot, Yves Bonnefoy, Michel Butor, Edmond Jabè s, Charles Juliet, and Jean Starobinski. Juliet’s “Retour” sees him describe van Velde as “ Frè re de Beckett, de ” (93) (“brother of Beckett, of Molloy”). 2 . Emmanuel Levinas, “Reality and its Shadow” in The Levinas Reader , edited by Se á n Hand (Oxford: Blackwell, 1989), 130. Hereafter all essays from this volume are cited parenthetically in the body of the text as LR . 3 . There are non-Levinasian alternatives that nonetheless take part in this ethical turn, particularly J. Hillis Miller’s The Ethics of Reading . Derek Attridge’s The Singularity of Literature is clearly shaped by Levinas’s writing but develops an idea of responsibility for one’s reading that is at an important remove from Levinasian ethics, not least in its emphasis of the text’s singularity, which is a counterpoint to the singularity of Levinas’s human other. 168 ● Notes

4 . Shane Weller, Beckett, Literature, and the Ethics of Alterity (London: Palgrave Macmillan, 2006 ), 30. 5 . R i c h a r d R o r t y , Consequences of Pragmatism (Essays: 1972–1980) (Brighton: Harvester Press, 1982 ), 217. 6 . Caroline Van Eck, James McAllister, and René e Van De Vall (eds.), The Question of Style in Philosophy and the Arts (Cambridge: Cambridge University Press, 1995 ), 1. 7 . Berel Lang, The Anatomy of Philosophical Style: Literary Philosophy and the Philosophy of Literature (Oxford: Blackwell, 1990 ), 12. 8 . Ibid., 13. 9. Ibid., 18. 10 . This would, I think, be disputed by numerous readers of Levinas. Not least among these, I suspect, would be Michael Morgan, whose revela- tory Discovering Levinas poses extensive dialogues with contemporary analytic philosophers as well as the more usual continental field. While instructive, the expatriation of Levinas to the rhetorical climes inhab- ited by Davidson, McDowell, Taylor, and others, loses, for this reader, an essential quality of Levinas’s thought. 11 . Inaccurately but with great panache she calls Blanchot’s “the sole autho- rized commentary” on Beckett in France. Pascale Casanova, : Anatomy of a Literary Revolution, translated by Gregory Elliot, introduced by Terry Eagleton (London: Verso, 2006 ), 11. 1 2 . C a r l a L o c a t e l l i , Unwording the World: Samuel Beckett’s Prose Works after the Nobel Prize (Philadelphia: University of Pennsylvania Press, 1990 ), 230. 13 . Ewa Plonoswska Ziarek, The Rhetoric of Failure: Deconstruction or Skepticism, Reinvention of Modernism (Buffalo: State University of New York Press, 1996 ), 179. 1 4 . L a u r a S a l i s b u r y , Samuel Beckett: Laughing Matters, Comic Timing (Edinburgh: Edinburgh University Press, 2012 ), 34. 15 . Ibid., 3. For instance, Salisbury’s descriptions of a “modality of the tremor” (151), an involuntary shake that spreads uncertainty in Beckett’s later works, appear close to the structures of palinodic writing that I outline in and . 16 . One need only consider Levinas’s literary tastes to see that earnestness is the rule and humor the exception. What he enjoys and finds of merit in , Celan, Dostoyevsky, Blanchot, is always serious. 17 . Levinas was certainly not without a sense of humor, however. In addi- tion to the various charming photographs showing the philosopher laughing, Simon Critchley in his On Humour ( 2002 ) relates several of his jokes, including a on words when offered a second cup of tea. Levinas refused on religious grounds: “Je suis mono-thé -iste ” (Critchley Notes ● 169

On Humour 107). This should make clear that Levinas’s value lies in the theory rather than the practice of comedy. 18 . See, in particular, Steven Connor, Theory and Cultural Value (Oxford: Blackwell, 1992 ); Simon Critchley, The Ethics of Deconstruction: Derrida and Levinas ( 1992 ); Thomas Docherty, Alterities: Criticism, History, Representation (Oxford: Clarendon Press, 1996 ); Jill Robbins, Altered Reading: Levinas and Literature (Chicago: University of Chicago Press, 1999 ); Robert Eaglestone, Ethical Criticism: Reading after Levinas (Edinburgh: Edinburgh University Press, 1997 ), and Andrew Gibson’s Postmodernity, Ethics and the Novel (London: Routledge, 1999 ). 1 9 . Q u o t e d i n T y r u s M i l l e r , Late Modernism: Politics, Fiction, and the Arts Between the World Wars (Berkeley: University of California Press, 1999 ), 10–11. An interesting parallel can be made to Theodor Adorno who, in his essay on Beckett, writes that “parody means the use of forms in the era of their impossibility” (278). Adorno formulation would thus compress postmodernism, with its characteristic love of parody, into late modernism, quite contrary to Charles Jencks’s pic- ture of late modernism and postmodernism as parallel responses to high modernism. 2 0 . I b i d . , 1 0 . 2 1 . I b i d . , 8 . 22 . Richard A. Cohen (ed.), Face to Face with Levinas (Albany: State University of New York Press, 1986 ), 16. 2 3 . E d m u n d H u s s e r l , M é ditations Carté siennes. Introduction à la phenom- enologie, translated by Emmanuel Levinas and Gabrielle Pfeiffer (Paris: Armand Colin, 1931 ). The invaluable Levinas Online Bibliography explains that Levinas translated the last 80 pages of the (136 page) book, “most notably the fourth and fifth meditation[s].” 2 4 . S e e Levinas Online Bibliography for further details. 25 . Ulrika Maude and Matthew Feldman (eds.), Beckett and Phenomenology (London: Continuum, 2009 ), 49. 2 6 . E m m a n u e l L e v i n a s , Is It Righteous to Be? Interviews with Emmanuel Levinas, edited by Jill Robbins (Stanford: Stanford University Press, 2001), 140. 2 7 . S a m u e l B e c k e t t , The Letters of Samuel Beckett. Volume I: 1929–1940 , edited by Martha Dow Fehsenfeld and Lois More Overbeck (Cambridge: Cambridge University Press, 2009). Subsequent references are cited par- enthetically in the body of the text as Letters I . 28 . There is no mention of reading Husserl in the letters from the early 1930s, and Matthew Feldman’s survey of Beckett’s dealings with phe- nomenology quotes notes taken on secondary sources only (Maude and Feldman 21–2). 170 ● Notes

29 . James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996 ), 152. 3 0 . I b i d . , 1 5 3 . 3 1 . I b i d . , 1 5 3 . 3 2 . S a l o m o n M a l k a , Emmanuel Levinas: His Life and Legacy, Foreword by Phillipe Nemo, Translated by Michael Kigel and Sonja M. Embree (Pittsburgh: Duquesne, 2006 ), 179. 3 3 . D e r r i d a ’ s e s s a y i s t r a n s l a t e d a s “Ousia and Gramm ē : A Note on a Note from Being and Time ,” which is included in Margins of Philosophy. 34 . Malka, 180. The original reads “Pour Emmanuel Levinas, avec qui, depuis quarante ans, je suis lié d’une amitié qui m’est plus proche que moi-m ê me : en rapport d’invisibilit é avec le juda ï sme” (Char 103). 3 5 . M a l k a , 1 7 9 . 36 . Anthony Cronin, Samuel Beckett: The Last Modernist (London: HarperCollins, 1996 ), 87. 37 . Quoted in Malka, 40. 3 8 . J a c q u e s D e r r i d a , Adieu to Emmanuel Levinas , Translated by Pascale- Anne Brault and Michael Naas (Stanford: Stanford University Press, 1999 ), 3, 5. 3 9 . S i m o n C r i t c h l e y , The Ethics of Deconstruction: Derrida and Levinas , 2nd ed. (Edinburgh: Edinburgh University Press, 1999 ), 3. 4 0 . Q u o t e d i n L a w r e n c e E . H a r v e y , Samuel Beckett Poet and Critic (Princeton: Princeton University Press, 1970 ), 76. 4 1 . K n o w l s o n , 2 4 4 . 42 . Maude and Feldman, 56. 4 3 . I b i d . , 5 6 .

1 Writing against Art 1 . There are numerous accounts of the impact of conquest and liberation on the arts in France. Two recent volumes that address a range of disci- plines are Frederic Spotts, The Shameful Peace: How French Artists and Intellectuals Survived the Nazi Occupation (New Haven: Yale University Press, 2008 ) and Alan Riding, And The Show Went On: Cultural Life in Nazi-Occupied Paris (London: Duckworth Overlook, 2001 ). Scholarly accounts of French literary and publishing history of this period are extensive. Particularly interesting are several books published by IMEC that cover specific publishers and publications, as well as periods: Anne Simonin, Les É ditions de Minuit 1942–1955: Le devoir d’insoumission, Nouvelle é dition (Paris: IMEC, 2008 ); Jean Lescure, Poé sie et Liberté : Histoire de Messages, 1939–1946 (Paris : IMEC, 1998 ). The work of Pascal Fouch é is extremely valuable, particularly L’ édition f ranç aise sous Notes ● 171

l’Occupation: 1940–1944 (Paris: Bibliothè que de litté rature franç aise contemporaine de l’Université Paris 7, 1987 ) and L’ édition f ranç aise depuis 1945 (Paris: Le cercle de la librairie, 1998 ). From a biographi- cal approach much can be understood about French publishing in the twentieth century from Pierre Assouline, Gaston Gallimard: A Half Century of French Publishing , translated by Harold J. Salemson (San Diego: Harcourt Brace Jovanovich, 1988). 2 . Transition Forty-Eight No.1, edited by Georges Duthuit (Paris: Transition Press, 1948), 5. 3 . I b i d . , 8 n . 1 . 4 . Lawrence Graver and Raymond Federman (eds.), Samuel Beckett: The Critical Heritage (London: Routledge & Kegan Paul, 1979 ), 217. 5 . Jean-Paul Sartre, What Is Literature? Translated by Bernard Frechtman, introduced by David Caute (London: Routledge, 2001 ), 48. 6 . Ibid., 58. 7 . Ibid., 43. 8 . Ibid., 16. 9. Ibid., 43. 1 0 . I b i d . , 4 4 . 1 1 . I b i d . , 1 4 . 1 2 . I b i d . , 7 2 – 7 3 . 1 3 . I b i d . , 3 7 . 1 4 . I b i d . , 3 5 . 1 5 . S a m u e l B e c k e t t , Proust & : Samuel Beckett and Georges Duthuit (London: Calder, 1987), 103. Subsequent references are cited parenthetically in the body of the text as Three Dialogues . 16 . Sartre, 23. 1 7 . I b i d . , 1 4 . 1 8 . “remet à une critique philosophique le soin de ré cup é rer l’art pour la vé rit é , renouer des liens entre la pensé e ‘degagé e’ et l’autre, entre le jeu de l’art et le sé rieux de la vie ,” T. M. [editorial board], Untitled [Preface to “La r é alit é et son ombre”] Les Temps Modernes 38 (1948 ): 770. 19 . Sartre, 42. 2 0 . S a m u e l B e c k e t t , The Letters of Samuel Beckett. Volume II: 1941– 1956, edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn, and Lois More Overbeck (Cambridge: Cambridge University Press, 2011), 130. Subsequent references are cited parenthetically in the body of the text as Letters II . 21 . Sartre, 27. 2 2 . I b i d . , 1 . 2 3 . E m m a n u e l L e v i n a s , Totality and Infinity: An Essay on Exteriority , trans- lated by Alphonso Lingis, Duqusne Studies Philosophical Series 24 172 ● Notes

(Pittsburgh: Duquesne University Press, 1969), 197. Subsequent refer- ences are cited parenthetically in the body of the text as TI . 24 . Samuel Beckett to Barbara Bray March 4, 1960. TCD MS 10948/1/72. 25 . SB to BB March 19, 1960. TCD MS 10948/1/75. 26 . SB to BB March 31, 1960. TCD MS 10948/1/78. 27 . Anthony Cordingley, “Beckettian Hermeneutics: Spectres of Husserl,” paper presented at Spectres de Beckett, Irish Cultural Centre and Universit é Paris 7–Denis Diderot, April 2, 2009 . 2 8 . Husserl , Cahiers de Royaumont Philosophie No. III (Paris: É ditions de Minuit, 1959), 9. 2 9 . I b i d . , 1 3 1 . 3 0 . Husserl , 7. 3 1 . J o h n P i l l i n g , A Samuel Beckett Chronology (Houndmills: Palgrave M a c m i l l a n , 2 0 0 6 ) , 1 0 5 . 3 2 . I b i d . , 1 1 6 . 3 3 . H a r v e y , 2 4 9 . 3 4 . E m m a n u e l L e v i n a s , Carnets de captivité et autres iné dits , edited by Rodolphe Calin and Catherine Chalier, Ouevres I (Paris: Grasset/ IMEC, 2009), 13. 3 5 . L e v i n a s , Is It Righteous to Be?, 28. Subsequent references are cited paren- thetically in the body of the text as Righteous . 3 6 . E m m a n u e l L e v i n a s , Proper Names, translated by Michael B. Smith (London: Athlone Press, 1996), 96. Subsequent references are cited par- enthetically in the body of the text as PN . 3 7 . E m m a n u e l L e v i n a s , Difficult Freedom: Essays on Judaism, translated by Seá n Hand (Baltimore: Johns Hopkins University Press, 1990), 132. Subsequent references are cited parenthetically in the body of the text as DF . 3 8 . G r a v e r a n d F e d e r m a n , 2 1 7 . 3 9 . I b i d . , 2 1 7 . 40 . See Peter Fifield, “‘Of being – or remaining?’: Beckett and Early Greek Philosophy,” Sofia Philosophical Review Beckett/Philosophy, edited by Matthew Feldman, 5.1 ( 2011 ): 67–88. 4 1 . S a m u e l B e c k e t t , Molloy, , The Unnamable (London: Calder, 1994), 302. Subsequent references are cited parenthetically in the body of the text as T. John Burnet, Greek Philosophy, Part I: Thales to Plato (London: Macmillan, 1914 ), 33. 4 2 . G r a v e r a n d F e d e r m a n , 2 1 7 . 43 . Beckett notes his interest in Democritus and Geulincx in a letter sent to Sighle Kennedy on June 14, 1967: “If I were in the unenviable posi- tion of having to study my work my points of departure would be Notes ● 173

the ‘Naught is more real . . . ’ and the ‘Uni nihil vales . . . ’ both already in and very rational” (Samuel Beckett, : Miscellaneous Writings and a Dramatic Fragment, edited by Ruby Cohn [London: Calder, 1983], 113.) Subsequent references are cited paren- thetically in the body of the text as Disjecta . As a result of this authorial recommendation these two areas have become critical mainstays, and a comprehensive list is beyond the scope of this work. Recent contribu- tions include Matthew Feldman, Beckett’s Books: A Cultural History of Samuel Beckett’s “Interwar Notes” (New York: Continuum, 2006 ) and “Returning to Beckett Returning to the Presocratics, or, ‘All their balls about being and existing’”, Genetic Joyce Studies 6 ( 2 0 0 6 ) : http://www. geneticjoycestudies.org/GJS6/GJS6Feldman.htm (accessed July 27, 2012 ); Dirk Van Hulle, “‘World stuff’: É l é ments pr é socratiques dans la gen è se de l’œuvre beckettienne,” Samuel Beckett Today/Aujourd’hui Des Elements aux Traces: Elements and Traces, edited by M. Engelberts, D. de Ruyter, K. Germoni, and H. Penet-Astbury 20 (2008 ): 203–16; Shane Weller, “‘Gnawing to be Naught’: Beckett and Pre-Socratic Nihilism,” Samuel Beckett Today/Aujourd’hui Des Elements aux Traces: Elements and Traces, edited by M. Engelberts, D. de Ruyter, K. Germoni, and H. Penet-Astbury 20 (2008 ): 321–33; and my own essay, cited above, “‘Of Being—or Remaining?’: Beckett and Early Greek Philosophy.” On Arnold Geulincx, see David Tucker, Samuel Beckett and Arnold Geulincx: Tracing “a literary fantasia” (London: Continuum, 2 0 1 2 ) . 4 4 . G r a v e r a n d F e d e r m a n , 2 1 7 . 4 5 . S a m u e l B e c k e t t , Complete Dramatic Works (London: Faber and Faber, 1986), 459. Subsequent references to Beckett’s plays are cited paren- thetically in the body of the text as CDW . 4 6 . W i l l i a m L a r g e , Emmanuel Levinas and Maurice Blanchot: Ethics and the Ambiguity of Writing (Manchester: Clinamen Press, 2005 ), xi.

2 A Reluctant Poetics 1 . K n o w l s o n , 1 2 6 . 2 . Phyllis Carey, “Face to Face: Samuel Beckett and Vá clav Havel,” Christianity and Literature 44.1 ( 1994 ): 43–57. 3 . Ibid., 48. 4 . Jon Erickson, “The Face and the Possibility of an Ethics of Performance,” Journal of Dramatic Theory and Criticism 13.2 (1999): 9. 5 . Ibid., 12. 6 . Both Erickson and Wynands appear unaware of their predecessors’ articles. There is an unfortunate implication to this scholarly oversight, 174 ● Notes

which means theirs is something less than a critical conversation, and certainly fails to approach the attentive, responsive ethical relationship that they laud. 7 . Wynands Sandra, “Visuality and Iconicity in Samuel Beckett’s , ” Religion and Literature 37.3 (2005 ): 88. 8 . I b i d . , 8 1 9 . Ibid., 94. 10 . A quite different point is raised by Beckett’s dedication of Catastrophe . If we look to the two typescripts that carry inscriptions (UoR MS 2464 and UoR MS 2456–3) we can see a striking error. In these otherwise assiduously corrected documents the name of the dedicatee is misspelled, Vá clav becoming Vaclan Havel. This reminds us of the precise nature of this address;, a gesture that might otherwise seem to indicate the play’s ethical standing. Beckett’s solidarity here is not with the individual but with someone who finds himself in the objec- tionable situation of political imprisonment. Catastrophe is a call, then, from a free writer to a captive one, and not from one human to another. This is not, then, the face-to-face as Levinas describes it. Setting aside the fact that Beckett and Havel did not meet—it is an open question whether the ethical relationship needs to be face-to- face—this is a political play in the strongest sense: it is concerned with the rights of a category of people rather than the relationship between individuals. 11 . Michael L. Morgan, Discovering Levinas (Cambridge: Cambridge University Press, 2007 ), 305. 1 2 . E m m a n u e l L e v i n a s , Otherwise than Being or Beyond Essence, translated by Alphonso Lingis (Pittsburgh: Duquesne University Press, 1997), 55. Subsequent references are cited parenthetically in the body of the text as OB . 13 . Emmanuel Levinas, “Meaning and Sense,” in Collected Philosophical Papers , translated by Alphonso Lingis (Martinus Nijhoff: Dordrecht, 1987), 95. Subsequent references to essays in this volume are cited par- enthetically as CPP . 14 . Without this possibility, the mute would, one assumes, be beyond the reach of ethics and thus in some sense subhuman. 1 5 . E m m a n u e l L e v i n a s , Ethics and Infinity: Conversations with Philip Nemo , translated by Richard A. Cohen (Pittsburgh: Duquesne University Press, 1985), 85. Subsequent references are cited parenthetically in the body of the text as EI . 16 . Jacques Derrida, “Violence and Metaphysics: An Essay on the Thought of Emmanuel Levinas,” in Writing and Difference, translated by Alan Bass (London: Routledge, 1978 ), 116. Notes ● 175

17 . Simon Critchley and Robert Bernasconi (eds.), The Cambridge Com- panion to Levinas (Cambridge: Cambridge University Press, 2002 ), 12. 1 8 . I b i d . , 1 8 . 1 9 . I b i d . , 2 1 . 2 0 . I b i d . , 2 1 . 2 1 . I b i d . , 1 8 . 2 2 . M i c h a e l B . S m i t h , Toward the Outside: Concepts and Themes in Emmanuel Levinas (Pittsburgh: Duquesne University Press, 2005 ), 124. 2 3 . L a r g e , x i . 24 . Knowlson, 668. Quite as much as Catatrophe , has become a touchstone for Levinasian readings of Beckett. Already cited and addressed in my introduction, I draw the reader’s attention once again to Carla Locatelli, Unwording the World: Samuel Beckett’s Prose Works After the Nobel Prize; Andrew Gibson Postmodernity, Ethics and the Novel; and Laura Salisbury, Samuel Beckett: Laughing Matters Comic Timing . 2 5 . S a m u e l B e c k e t t , : , Ill Seen Ill Said, , introduced by S. E. Gontarski (New York: Grove Press, 1996), 54. Subsequent references are cited parenthetically in the body of the text as NO . 26 . Knowlson, 670–71. 2 7 . S a m u e l B e c k e t t , Samuel Beckett’s Mal Vu Mal Dit/Ill Seen Ill Said: A Bilingual, Evolutionary, and Synoptic Variorum Edition, edited by Charles Krance (New York: Garland, 1996), xii. 28 . Knowlson, 824 n.30. 2 9 . C o h e n , 2 2 . 3 0 . M o r g a n , 3 0 5 .

3 “why after all not say without further ado what can later be unsaid ” ( Company ) 1 . See Leslie Hill, Beckett’s Fiction: In Different Words (Cambridge: Cambridge University Press, 1990 ), 62–65, for an instructive account of Beckett’s aporetics as “a figure of indifference, of differences articulated an then suspended” (65). In place of this play of difference, I suggest aporia might be understood as a demonstration of the text’s denotative incapacity, and a gesture to that which lies beyond its reach. 2 . W e l l e r , Beckett, Literature and the Ethics of Alterity , 192–95. 3 . I b i d . , 1 9 4 . 4 . Beckett’s reading of Fritz Mauthner has long been acknowledged as one of the central moments in his development. As such it has attracted a mass of critical literature that stretches beyond the range of a brief 176 ● Notes

comment. Of note are Jennie Skerl, “Fritz Mauthner’s ‘Critique of Language’ in Samuel Beckett’s ‘’” Contemporary Literature 15.4 (1974 ): 474–87; Linda Ben-Zvi, “Fritz Mauthner for Company ” Journal of Beckett Studies 9 ( 1984 ): 65–88; John Pilling, Beckett Before Godot (Cambridge: Cambridge University Press, 1997 ); Dirk Van Hulle, “Beckett—Mauthner—Zimmer—Joyce” Joyce Studies Annual , edited by Thomas F. Staley (Austin: University of Texas Press 1999 ); Feldman, Beckett’s Books . Mauthner will also feature in Shane Weller’s forthcom- ing study of the genesis of The Unnamable, as part of the Samuel Beckett Digital Manuscript Project. 5 . Derrida, “Violence and Metaphysics,” 142. 6 . Graver and Federman, 220. 7 . It is worth noting here that my use of Derrida’s notion of invention as a parallel for Levinas’s exposition of the other is not academic sleight of hand but may be justified by the latter’s 1980 essay “The Old and The New” (now collected with Time and the Other) where he explicitly associates alterity with radical novelty. 8 . Jacques Derrida, “Psyche: Inventions of the Other,” translated by Catherine Porter, in Reading de Man Reading, edited by Lindsay Waters and Wlad Godzich, Theory and History of Literature 59 (Minneapolis: University of Minnesota Press, 1989 ), 60. 9. R o b b i n s , Altered Reading , 7. 10 . Derrida, “Psyche,” 60. 11 . Gilles Deleuze, “The Exhausted,” translated by Anthony Uhlmann, SubStance: A Review of Theory and Literary Criticism 78 ( 1995 ): 3. 12 . Charles Juliet, Conversations with Samuel Beckett and Bram van Velde , translated by Janey Tucker, introduction and notes by Adriaan van der Weel and Ruud Hisgen (Leiden: Academic Press, 1995 ), 124. 1 3 . I b i d . , 5 1 . 1 4 . I b i d . , 6 6 – 6 7 . 1 5 . I b i d . , 5 3 . 1 6 . I b i d . , 1 0 1 . 1 7 . I b i d . , 1 4 0 . 1 8 . I b i d . , 1 4 1 . 1 9 . I b i d . , 1 0 7 . 20 . Emmanuel Levinas, “The Trace of the Other,” translated by Alphonso Lingis, Deconstruction in Context , edited by Mark C. Taylor (Chicago: University of Chicago Press, 1986 ): 356. Subsequent references are cited parenthetically in the body of the text as “Trace.” 21 . Just as Levinas’s trace is not Derrida’s, the term has found different applications and attracted different methods in Beckett scholarship. See, for example, the manuscript-based study of Beckett’s late poem Notes ● 177

series, Mark Nixon, ‘“The Remains of a Trace’: Intra- and Intertextual Transferences in Beckett’s mirlitonnades Manuscripts” Journal of Beckett Studies 16.1 and 2 ( 2007 ): 110–22. 22 . Derrida, “Violence and Metaphysics,” 112–13. 23 . Terry Eagleton, “Political Beckett?” New Left Review 4 0 ( 2 0 0 6 ) h t t p : / / www.newleftreview.org/?page=article&view=2626 (accessed July 27, 2012). 2 4 . R o b b i n s , Altered Reading, 27. 2 5 . I b i d . , 2 8 . 2 6 . I b i d . , 1 3 9 . 27 . Paul Auster, one of the most high profile of Beckett’s literary inheritors, provides an interesting fictionalized parallel to The Unnamable in the conclusion of his own work The New York Trilogy (1985). The main protagonist of the final story comes into the possession of an uncanny text, evocative of Beckett, Blanchot, and Levinas, that is wrapped in its own unsaying: “All the words were familiar to me, and yet they seemed to have been put together strangely, as though their final purpose was to cancel each other out. I can think of no other way to express it. Each sentence erased the sentence before it, each paragraph made the next impossible” (Paul Auster, The New York Trilogy [London: Faber and Faber, 1984], 313). 2 8 . S a m u e l B e c k e t t , Dream of Fair to middling Women , edited by Eoin O’Brien and Edith Fournier (London: Calder, 1993), 4. Subsequent ref- erences are cited parenthetically in the body of the text as Dream . 2 9 . P a u l M u l d o o n , To Ireland, I (Oxford: Oxford University Press, 2000 ), 12. 3 0 . R u s s e l l K i l b o u r n , “The Unnamable: Denegative Dialogue,” in Beckett, Joyce and the Art of the Negative , edited by Colleen Jaurretche, European Joyce Studies 16 (Amsterdam: Rodopi, 2005 ), 63. 3 1 . S a m u e l B e c k e t t , Complete Short Prose: 1929–1989 , edited by S. E. Gontarski (New York: Grove Press, 1995), 3. Subsequent references are cited parenthetically in the body of the text as CSP . 3 2 . S a m u e l B e c k e t t , Watt (London: Calder, 1998), 61. Subsequent refer- ences are cited parenthetically in the body of the text as W . 3 3 . D a n i e l A l b r i g h t , Beckett and Aesthetics (Cambridge: Cambridge University Press, 2003 ), 28. 34 . This play with beginnings is heavily indebted to Laurence Sterne’s Tristram Shandy, a novel that famously spends its length preparing for its hero’s birth, and thus for its real start. Similar to the structure I con- sider in my next chapter, the book becomes a distended beginning, and is surely the direct source for the second beginning of Molloy. For exam- ple, twenty chapters into the third volume, Tristram finds a moment of 178 ● Notes

respite from the story to get the story started: “All my heroes are off my hands;—’tis the first time I have had a moment to spare,—and I’ll make use of it, and write my preface [ . . . ] No, I’ll not say a word about it,— here it is;—in publishing it,—I have appealed to the world,—and to the world I leave it;—it must speak for itself” (Laurence Sterne, Tristram Shandy, edited by Howard Anderson [New York: W. W. Norton, 1980], 140). Compare Molloy who has already begun and gather a little momentum before he introduces that second, proper start: “Here’s my beginning. Because they’re keeping it apparently. I took a lot of trouble with it. Here it is. It gave me a lot of trouble [ . . . ] It must mean some- thing, or they wouldn’t keep it. Here it is” (T 8). 35 . The first to advance this argument was S. E. Gontarski, The Intent of Undoing in Samuel Beckett’s Dramatic Texts (Bloomington: Indiana University Press, 1985 ). Since that text the development of “genetic criticism” has seen the detail accumulate without substantially alter- ing Gontarski’s original thesis. The Samuel Beckett Digital Manuscript Project, available at www.beckettarchive.org , describes the composition of several works at a time, and the first print volume, by project leader Dirk Van Hulle, covers The Making of Samuel Beckett’s / Soubresauts and Comment Dire/What Is the Word (Brussels: ASA, 2011 ). For Van Hulle’s more extensive commentary on Beckett and Joyce, see Manuscript Genetics, Joyce’s Know-How, Becket’s Nohow (Gainesville: University Press of Florida, 2008 ). 36 . Ch a r l e s P r e n t i c e l e t t e r t o S a m u e l B e c k e t t , J u l y 5 , 19 3 2 . B e c k e t t International Foundation Archive. University of Reading. 3 7 . G o n t a r s k i , x i i i ; 4 . 38 . Excrement is a favorite topic for Beckett critics as it was a favorite topic for Beckett. See David Lloyd’s “Writing in the Shit: Beckett, Nationalism, and the Colonial Subject” Modern Fiction Studies 35.1 (1989): 69–85. Lloyd, as his title announces, connects the turd-sniffing patriots of Beckett’s “” to a wider political and cultural con- text. Ann Banfield, in “Beckett’s Tattered Syntax,” Representations 84 (2004 ): 6–29, works the figure of excrement into an economy involving the mother, the mother tongue, “language milk” (Banfield 9). Most recently Laura Salisbury has written in Samuel Beckett: Laughing Matters, Comic Timing that excretion, within the context of Beckett’s comedy, is of particular interest to Beckett because of its semi-involuntary nature, unwilled and yet subject to habit. Accepting the political inflections that characterize Beckett’s coprotechnics for both Lloyd and Banfield, there is something to be gained from setting them to one side. Equally, Salisbury’s attentiveness to the materiality of excrement and its pro- duction sacrifices what I see as its superlative symbolic quality. Even Notes ● 179

in Beckett’s profoundly material universe, there is no substance more evocative of the paradox of a present emptiness than excrement. 39 . Stewart Paul, “A Rump Sexuality: The Recurrence of Defecating Horses in Beckett’s Oeuvre,” Beckett at Reading International Conference, University of Reading. April 1, 2006 . 4 0 . K n o w l s o n , 4 6 1 . 4 1 . E m m a n u e l L e v i n a s , Outside the Subject (London: Continuum, 2008), 116. Subsequent references are cited parenthetically in the body of the text as OtS . 4 2 . D a n i e l D e f o e , Robinson Crusoe, edited and introduced by J. Donald Crowley (Oxford: Oxford University Press, 1972 ), 204–5. 4 3 . I b i d . , 1 9 9 . 4 4 . I b i d . , 2 0 4 . 45 . W. J. T. Mitchell, “Spatial Form in Literature: Toward a General Theory,” in The Language of Images , edited by W. J. T. Mitchell (Chicago: University of Chicago Press, 1981 ), 276. 4 6 . A l b r i g h t , Beckett and Aesthetics , 29. 47 . Alain Robbe-Grillet argues in “Samuel Beckett, or Presence on Stage” (included in Graver and Federman) argues that En attendant Godot stages an unambiguous, overwhelming presence exemplifying Heidegger’s Dasein . By contrast Connor, in “Presence and Repetition in Beckett’s Theatre” (1988 ), suggests that the principle of repetition that structures Beckett’s work erodes any such unambiguous presence. In a reading of the play to which my own is indebted, Connor demonstrates that the interplay of onstage and offstage, what is shown and what referred to, unsettles the unambiguous presence of various protagonists in Beckett’s plays, including May. Comparing Beckett’s stagecraft to Levinas’s description of the trace, however, one can see that this is not only a question of the relation between what is seen and what is referred to, but to the movement that takes place on stage. Palinodic shuttling is, in the case of Footfalls and alike, not a derivative of a linguistic signification but, as Levinas shows, a structure that seems to belong to the human figure quite as properly as to language. 4 8 . B i l l i e W h i t e l a w , Billie Whitelaw . . . Who He? An Autobiography (London: S c e p t r e , 1 9 9 5 ) , 1 4 3 . 4 9 . G r a v e r a n d F e d e r m a n , 3 4 8 . 5 0 . C o n n o r , Repetition, Theory, Text , 155. 5 1 . G r a v e r a n d F e d e r m a n , 3 4 0 . 5 2 . A l b r i g h t , Beckett and Aesthetics , 59. 5 3 . P i l l i n g , Beckett Chronology , 201. 54 . Jacques Derrida, “At This Very Moment in This Work Here I Am,” translated by Ruben Berezdivin, in Re-Reading Levinas , edited by Robert 180 ● Notes

Bernasconi and Simon Critchley (Bloomington: Indiana University Press, 1991 ), 47. 55 . This important oscillatory movement is also to be found in the sister work Rockaby , in which the chair’s rocking acts toward a similar end, both suggesting and cancelling the significance of its own movement. A related structure can be seen in Film, where O’s attempt to put both the cat and dog out of the room results in an overlapping process of doing and undoing: putting the dog out lets the cat in and vice versa. 5 6 . R o b b i n s , Altered Reading , 139. 57 . James Knowlson and Elizabeth Knowlson (eds.), Beckett Remembering Remembering Beckett: Uncollected Interviews with Samuel Beckett and Memories of Those Who Knew Him (London: Bloomsbury, 2006 ), 170. 58 . John Haynes and James Knowlson, Images of Beckett (Cambridge: Cambridge University Press, 2003 ), 43. 59 . This connection is made by Knowlson in John Haynes and James Knowlson, Images of Beckett (Cambridge: Cambridge University Press, 2003 ), 74. Quotation from Jocelyn Herbert, Jocelyn Herbert: A Theatre Workbook , edited by Cathy Courtney (London: Art Books International, 1993 ), 92. 6 0 . W h i t e l a w , 1 4 2 . 6 1 . I b i d . , 1 4 6 . 6 2 . A l b r i g h t , Beckett and Aesthetics , 69. 6 3 . G o n t a r s k i , 1 6 2 . 6 4 . W h i t e l a w , 2 3 4 .

4 “begin again all over more or less in the same place or in another” ( ) 1 . Exceptions to this include Alain Badiou, whose work on Beckett I con- sider more fully below. His reappraisal places the generative urge at the heart of Beckett’s literary enterprise, which, he argues, runs under an eth- ical imperative to “Keep going!” Affirmation in the quest for truth, and not negation, is for Badiou the character of Beckett’s oeuvre. While this positive force is, as the present chapter testifies, very important, Badiou’s enthusiasm for unseating the perceived critical dogma of negation blinds him to the balance of opposites that we find everywhere in Beckett’s texts. They are neither exclusively generative nor degenerative but given poise by the coexistence of these tendencies. More importantly still, it must be recognized that “going on” is not identical to affirmation, but has a certain destructive function of its own. Ann Banfield’s “Beckett’s Tattered Syntax,” cited in the previous chapter, argues that “Generation in Beckett is conceptualized through an extremely simple model: the Notes ● 181

process of like begets like” (6). This rule, she suggests, applies across works and language more generally, so that “Nothing new is also ever said under the sun” (6). I disagree, for while the generation of new mate- rial may, taken by a broader measure, be dismissed as merely “more of the same” for Beckett, a process of change and renewal is still in evidence. 2 . Not as prominent a theme in Beckett’s work as ending, Beckett’s beginnings are yet to receive a thorough critical treatment. The best account thus far is Gregory Byala’s unpublished PhD thesis, “Beckett’s Unfortunate Beginnings” (2006). 3 . J a m e s K n o w l s o n ( e d . ) , “”: The Production Notebook of Samuel Beckett (London: Faber and Faber, 1985 ), 16. 4 . J o h n P i l l i n g ( e d . ) , The Cambridge Companion to Beckett (Cambridge: Cambridge University Press, 1994 ), 109. 5 . Derrida, “Violence and Metaphysics,” 112. 6 . Paul Ricoeur, “Otherwise: A Reading of Emmanuel Levinas’s ‘Otherwise than Being or beyond Essence,’” translated by Matthew Escobar, Yale French Studies Encounters with Levinas 104 ( 2004 ): 92. 7 . É t i e n n e F e r o n , De l’idé e de transcendance à la question du langage: l’itiné raire philosophique de Levinas (Grenoble: J é r ô me Millon, 1992 ), 118. 8 . Maurice Blanchot, The Infinite Conversation , translated and foreword by Susan Hanson, Theory and History of Literature Vol. 82 (Minneapolis: University of Minnesota Press, 1993 ), 328. 9. Derrida, “Violence and Metaphysics,” 398. 1 0 . E m m a n u e l L e v i n a s , Time and the Other and Additional Essays , trans- lated by Richard A. Cohen (Pittsburgh: Duquesne University Press, 1987), 64. Subsequent references are cited parenthetically in the body of the text as TO . 1 1 . L a r g e , 2 3 . 1 2 . I b i d . , 2 3 , m y i t a l i c s . 1 3 . I b i d . , 2 3 – 2 4 . 1 4 . R o b b i n s , Altered Reading, 144. 1 5 . C r i t c h l e y , Ethics of Deconstruction , 128, my italics. 16 . Derrida, “At this very moment,” 28. Cf. Miriam Bankovsky’s important analysis of this essay: “A Thread of Knots: Jacques Derrida’s Homage to Emmanuel Levinas’ Ethical Reminder” ( 2004 ). 1 7 . E m m a n u e l L e v i n a s , Of God Who Comes to Mind, translated by Bettina Bergo (Stanford: Stanford University Press, 1998), xii. Subsequent refer- ences are cited parenthetically in the body of the text as OGCM . 18 . Alain Badiou, On Beckett, edited by Alberto Toscano and Nina Power (Manchester: Clinamen Press, 2003 ), 81. 19 . In addition to the movement of advance-through-retreat that I have characterized as trace-like, Levinas suggests that the trace “occurs by 182 ● Notes

overprinting” (“Trace” 357). In this notion I understand a gesture on Levinas’s part toward the self-effacement enacted by a persistent renewal, similar to that which Beckett’s work exhibits. 2 0 . A l b r i g h t , Beckett and Aesthetics , 14. 2 1 . I b i d . , 1 5 . 2 2 . S a m u e l B e c k e t t , Murphy (London: Calder, 1993), 27. This distinction, it must be stressed, is not an observation of Beckett’s development. The palinodic gibbering of, say, The Unnamable is certainly not an act of reduction or minimalism, but often an openly creative facet that intro- duces new material in place of or in addition to what has already been posited. Indeed, by emphasizing the generative element in “” I am not trying to reverse the perceived trajectory of Beckett’s writing from expansiveness to minimalism but to redress the imbalance caused by the critical orthodoxy of the oeuvre’s lessening. It must be noted that “All Strange Away” employs outright negation—“Jolly and Draeger gone, never were” ( CSP 173)—as often as it reimagines a posi- tive content. 23 . It must be noted that this spiral emerges in Levinas’s work in a discus- sion of reduction and destructuring perhaps more easily identifiable with the trace than the creative act as I have depicted it. Consequently he examines the generative urge in relation to the work of unsaying, which, he notes, “will let the destructuring it will have operated be ” ( HII 44). For the sake of clarity, however, I have drawn at least a flex- ible boundary between these two “techniques”—one not put in place by the philosopher himself—in order better to treat the range of ways in which a kindred action is inscribed in Beckett’s texts. Although reading against the grain of Levinas in one sense, then, I am doing so in order to illuminate the proper complexity of his rendition and avoid the depiction of the oeuvre as an extravagant negative theology, which is not the case. 2 4 . H i l l , Beckett’s Fiction , 63. 2 5 . E d w a r d S a i d , Beginnings: Intention and Method (New York: Columbia University Press, 1985 ), 48. 2 6 . I b i d . , 7 3 . 2 7 . I b i d . , 4 9 . 2 8 . P i l l i n g , Companion , 113. 2 9 . S a m u e l B e c k e t t , How It Is (London: Calder, 1996), 26. Subsequent ref- erences are cited parenthetically in the body of the text as HII . 30 . James Knowlson and John Pilling. Frescoes of the Skull: The Later Prose and Drama of Samuel Beckett (London: Calder, 1979 ), 63. 3 1 . H i l l , Beckett’s Fiction , 135. 32 . Casanova, 99. Notes ● 183

3 3 . P i l l i n g , Companion , 112. 34 . It must be stressed that these are the polar alternatives on a continuum of possibilities rather than exclusive options. It is entirely feasible, if dif- ficult to justify, to read the work in terms of an inconsistent method so that on some occasions the “I quote” may itself be quoted, and occasion- ally originate with the narrator. 35 . Ziarek, 169, quoting OB , 171. 3 6 . Z i a r e k , 1 7 2 . 3 7 . I b i d . , 1 7 1 – 7 2 . 3 8 . I b i d . , 1 7 1 . 3 9 . R o b b i n s , Altered Reading , 139. 4 0 . Z i a r e k , 1 7 3 . 4 1 . I b i d . , 1 7 4 . 42 . Derrida, “At this very moment,” 17. 4 3 . I b i d . , 2 2 . 4 4 . I b i d . , 2 2 . 4 5 . I b i d . , 2 4 . 4 6 . I b i d . , 2 7 . 4 7 . C r i t c h l e y , Ethics of Deconstruction , 128. 48 . Derrida, “At this very moment,” 28. 4 9 . B a d i o u , On Beckett , 81, my italics. 5 0 . A l a i n B a d i o u , Ethics: An Essay on the Understanding of Evil , trans- lated and introduced by Peter Hallward (London: Verso, 2001 ), 23. Badiou’s critique of Levinas in this volume is wholly justified in taking issue with a particularly pallid reading of Levinasian ethics. In response to his critique of the “system” of mutual respect widely peddled in Levinas’s name, which he argues to be nothing more than a rhetorically enriched compilation of liberal humanist plati- tudes, I wholeheartedly voice my approval. That Levinas’s writing is much more radical and challenging than this, however, is where Badiou’s reading underestimates his subject, who precedes him in some important areas of thought. Levinas’s infinity may not be that of Zermelo-Fraenkel set theory, but its very incalculability makes the demands of Levinasian ethics extreme to the point of unachievable. Levinas’s ethics, far from being tame and trite, is infinitely demand- ing and often counterintuitive. 5 1 . B a d i o u , Ethics, 70. Andrew Gibson, Beckett and Badiou: The Pathos of Intermittency (Oxford: Oxford University Press, 2006 ), 55. 5 2 . I b i d . , 6 7 . 53 . Ibid., 25, 22. 5 4 . I b i d . , 2 5 . 5 5 . I b i d . , 7 3 . 184 ● Notes

5 6 . B a d i o u , On Beckett , 17. 5 7 . I b i d . , 4 . 5 8 . I b i d . , 1 7 . 5 9 . G i b s o n , Beckett and Badiou , 45. 6 0 . I b i d . , 3 8 . 6 1 . B a d i o u , On Beckett , 18. 6 2 . W e l l e r , Beckett, Literature, and the Ethics of Alterity , 24.

5 The Turn to Hyperbole 1 . In the name of fairness I must post the unvoiced Levinasian retort, namely that the philosophical text might be seen as the other who teaches me. Certainly, the Levinasian set-up holds firm from the read- er’s position. However, to see the scenario from this perspective puts the text in contravention of its own rules. It cannot, by his own argument, place itself, even momentarily or hypothetically, in the position of the one whom it addresses, let alone use the of the reader’s place as an opportunity to justify the subservience of the reader/student to the text/teacher. The other, as Levinas repeatedly states, is not on the same level but infinitely transcendent. The text cannot, then, treat itself as the other, even as the other to the reader. Furthermore, one might ask, is there not at least one strand of the philosopher’s discourse that is directed toward persuading the reader that he is correct? If, broadly speaking, it is unethical to teach and ethical to be taught, one won- ders whether the good is ever to be served without, in a sort of ethical Newtonian arrangement, also committing an equal and opposing trans- gression. The logical rigor of Levinas’s asymmetrical relation—which is, conveniently, asserted to be prior to logic—is one of the more unusual and troubling facets of his philosophy, and this seems to me to be one of its more interesting black spots. 2 . The inscrutable intertwining of the Platonic and Socratic voices, one might argue, deserves the utmost censure from the Levinasian position. Plato’s absolution of his responsibility for his own arguments, and his supplanting of Socrates from his own speech, is surely a veritably poi- sonous form of substitution where the younger philosopher places the responsibility on his teacher rather than answering for him. 3 . T h e o d o r e d e B o e r , The Rationality of Transcendence: Studies in the Philosophy of Emmanuel Levinas , Amsterdam Studies in Jewish Thought 4 (Amsterdam: J. C. Gieben, 1997 ), 66. 4 . Ibid., 69. 5 . I b i d . , 1 5 3 . 6 . Ibid., 69. Notes ● 185

7 . Ibid., 70. 8 . V i c t o r K l e m p e r e r , The Language of the Third Reich: LTI—Lingua Tertii Imperii; A Philologist’s Notebook (London: Continuum, 2006 ), 203. 9. I b i d . , 2 0 1 . 1 0 . I b i d . , 2 0 4 . 1 1 . I b i d . , 2 0 2 . 1 2 . I b i d . , 2 0 2 . 1 3 . I b i d . , 2 0 3 . 1 4 . I b i d . , 2 0 4 . 1 5 . I b i d . , 2 0 6 . 1 6 . R o b b i n s , Altered Reading , 139. 1 7 . H a r v e y , 2 7 9 . 1 8 . I b i d . , 2 4 9 . 1 9 . I b i d . , 2 4 9 – 5 0 . 2 0 . M a t t h e w 6 . 3 . King James Bible (Grand Rapids, MI: Zondervan, 1994) 21 . De Boer, 66. 2 2 . W i l l i a m S h a k e s p e a r e , Tragedy of Lear 4.1 in The Complete Works , edited by Stanley Wells and Gary Taylor (Oxford: Clarendon Press, 1988 ), 27–28. Knowlson, 674. 2 3 . S e e S t e v e n C o n n o r , Theory and Cultural Value; Russell Smith, “Beckett, Negativity and Cultural Value Beckett, Negativity and Cultural Value”; and Peter Fifield, “Samuel Beckett: Out of the Archive: An Introduction.”

Conclusion 1 . Knowlson, 255. Cf. 408–10, 572–73, 612–13 for some examples of Beckett’s generosity. 2 . C. J. Ackerley and S. E. Gontarski (eds.), The Faber and Faber Companion to Samuel Beckett: A Reader’s Guide to His Works, Life, and Thought (London: Faber and Faber, 2004 ), 407. 3 . It is not simply Beckett’s view of existence as characterized by suffering that Kane borrows but the very manner of his brutality. In the short drama made for Channel 4 in 1997, Skin, “Billy is tied to the bed, lying on his front, spread-eagled. Marcia is cutting her name into his back with a stan- ley knife” (Sarah Kane, Complete Plays [London: Methuen, 2001 ], 262.) 4 . G i b s o n , Beckett and Badiou , 3. 5 . The relationship of Beckett’s work to the twentieth century’s wars and the Holocaust is a complex topic, and one that cannot be definitively settled. An important and extensive response to the topic has been made recently in David Houston Jones, Samuel Beckett and Testimony ( L o n d o n : P a l g r a v e , 2 0 1 1 ) . Bibliography

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A b b o t t , H . P o r t e r 1 0 5 , 1 2 1 Happy Days 1 0 5 A d o r n o , T h e o d o r 1 6 9 n 1 9 How It Is / Comment c’est 8 , 1 8 , A l b r i g h t , D a n i e l 9 3 – 9 4 , 9 7 , 1 1 6 1 0 3 , 1 0 7 , 1 2 1 – 1 3 7 , 1 6 3 , 1 8 2 n 2 3 , A n t o n e l l o d a M e s s i n a 9 9 1 8 3 n 3 4 Attridge, Derek 167n3 Ill Seen Ill Said / Mal vu mal dit 9 , D ’ A u b a r è d e , G a b r i e l 2 4 , 3 8, 3 9 1 8 , 5 3 , 5 9 – 6 5 , 1 5 1 , 1 5 3 , 1 7 5 n 2 4 A u g u s t i n e 7 4 Molloy 7 6 , 7 7 , 8 3 – 8 5 , 8 6 – 8 8 , 1 0 4 , A u s t e r , P a u l 1 7 7 n 2 7 177–178n34 A x e l o s , K o s t a s 1 4 Malone Dies 8 3 , 8 4 , 8 7 – 8 8 , 1 3 6 Murphy 1 1 7 , 1 5 1 , 1 7 3 B a d i o u , A l a i n 9 , 1 1 3 – 1 1 4 , 1 3 0 – 1 3 3 , 8 7 1 3 4 , 1 8 0 – 1 8 1 n 1 , 1 8 3 n 5 0 Ohio Impromptu 5 9 , 6 0 B e a u f r e t , J e a n 1 3 – 1 5 “ P h i l o s o p h y N o t e s ” 3 8 Beckett, Samuel Barclay—Works 4 2 “ A l l S t r a n g e A w a y ” 1 1 4 – 1 1 9 , 1 5 1 , Rockaby 5 9 , 1 7 9 n 4 7 , 1 8 0 n 5 5 1 8 2 n 2 2 Texts for Nothing 4 2 , 8 3 , 1 1 4 , 1 3 2 , 1 3 5 8 7 Three Dialogues with George “ A s s u m p t i o n ” 8 3 Duthuit 1 7 , 2 3 – 2 4 , 2 7 – 2 9 , 6 6 , “ T h e C a l m a t i v e ” 8 3 9 4 , 1 1 3 , 1 5 3 , 1 6 1 “ T h e C a p i t a l o f t h e R u i n s ” 1 2 t r i l o g y 7 , 1 0 , 8 3 , 8 6 , 8 7 , 1 2 2 , 1 2 6 , Catastrophe 3 , 1 8 , 4 1 – 4 6 , 4 9 , 6 5 , 1 2 7 , 1 3 2 , 1 3 6 1 7 4 n 1 0 The Unnamable 7 , 1 8 , 3 8 – 3 9 , 4 2 , Company 9 , 7 1 7 1 – 7 3 , 7 7 , 7 8 – 8 8 , 1 0 1 , 1 0 3 , 1 0 5 , Dream of Fair to middling 1 3 6 , 1 5 1 , 1 7 7 n 2 7 , 1 8 2 n 2 2 Women 1 4 , 8 5 , 8 7 , 1 5 2 Waiting for Godot / En attendant Endgame / Fin de partie 3 4 – 3 5 , Godot 3 4 , 7 3 – 7 4 , 1 6 4 , 1 7 9 n 4 7 1 1 7 , 1 1 8 Watt 8 3 , 1 0 4 , 1 5 2 , 1 5 3 “ T h e E x p e l l e d ” 8 3 Whoroscope Notebook 1 3 “ L a F a l a i s e ” 1 6 7 n 1 Worstward Ho 9 , 1 8 , 1 5 1 – 1 5 6 Film 1 8 0 n 5 5 B l a n c h o t , M a u r i c e 7 , 1 4 – 1 5 , 8 0 , 1 0 7 , Footfalls 1 8 , 6 1 , 9 4 – 1 0 1 , 1 6 1 , 1 7 9 n 4 7 1 6 7 n 1 , 1 6 8 n 1 1 , 1 6 8 n 1 6 , 1 7 7 n 2 7 204 ● Index

B o e r , T h e o d o r e d e 1 4 5 – 1 4 8 , 1 5 3 , Exodus 1 0 0 , 1 6 7 n 1 1 5 5 , 1 5 6 B o n d , E d w a r d 1 6 3 F a u r i s s o n , R o b e r t 1 5 B r a y , B a r b a r a 3 3 F é d i e r , F r a n ç o i s 1 4 B r u n s c h w i g , L é o n 3 4 F e l d m a n , M a t t h e w 1 , 1 3 , 3 8 , 1 6 9 n 2 8 B u r n e t , J o h n 3 8 F e l d m a n , M o r t o n 9 7 F r e u d , S i g m u n d 8 3 , 8 7 C a l i n , R o d o l p h e 3 5 C a l v i n , J o h n 1 6 3 G a d a m e r , H a n s - G e o r g 3 3 C a r e y , P h y l l i s 4 3 , 4 5 G e u l i n c x , A r n o l d 1 7 2 n 4 3 C a r n a p , R u d o l f 1 4 6 G i b s o n , A n d r e w 8 – 9 , 1 0 , 1 3 0 , 1 3 3 , 1 6 3 C a s a n o v a , P a s c a l e 7 , 1 6 8 n 1 1 G o n t a r s k i , S . E . 6 0 , 8 5 , 1 7 8 n 3 5 C e l a n , P a u l 1 1 , 1 6 8 n 1 6 C h a g a l l , M a r c 3 4 H a v e l , V á c l a v 4 3 , 1 7 4 n 1 0 C h a l i e r , C a t h e r i n 3 5 H e g e l , G . W . F . 1 3 , 5 1 , 1 1 9 Char, René 14–15 H e i d e g g e r , M a r t i n 4 , 1 2 , 1 3 , 1 5 , C l a u d e l , P a u l 3 7 , 4 7 – 4 9 3 1 , 5 0 , 5 1 , 6 7 , 1 2 1 , 1 4 6 , 1 6 6 , C o n n o r , S t e v e n 1 7 , 9 4 , 9 6 , 1 2 3 , 1 7 9 n 4 7 1 7 9 n 4 7 C r i t c h l e y , S i m o n 1 6 , 5 6 – 5 8 , 1 1 2 , Herbert, Jocelyn 98–99 168–169n17 H i l l , L e s l i e 7 8 , 1 2 0 , 1 7 5 n 1 H i p p o k r a t e s 3 8 – 3 9 Dante Alighieri 120 H u s s e r l , E d m u n d 1 2 – 1 4 , 3 3 , 1 2 0 – 1 2 1 , D e f o e , D a n i e l 8 9 – 9 0 , 9 2 – 9 3 1 6 9 n 2 3 , 1 6 9 n 2 8 D e l e u z e , G i l l e s 7 5 D e m o c r i t u s 7 8 , 1 7 2 – 1 7 3 n 4 3 I n g a r d e n , R o m a n 3 3 Derrida, Jacques—Works “ A d i e u t o E m m a n u e l L e v i n a s ” 1 6 J a m e s o n , F r e d r i c 1 1 , 1 2 “At this very moment in this work J a n v i e r , L u d o v i c 1 2 3 , 1 2 4 here I am” 98 , 112 , 127–128 , 138 J e n c k s , C h a r l e s 1 1 , 1 6 9 n 1 9 “ ΟΥΣΙΑ et ΓΡΑΜΜΗ : une note de J o y c e , J a m e s 1 2 , 8 2 , 8 6 , 1 5 2 , 1 6 6 Sein und Zeit” 15 Juliet, Charles 75–76 “ P s y c h e : I n v e n t i o n s o f t h e O t h e r ” 8 , J u n g , C . G . 8 2 7 4 , 7 8 Specters of Marx 7 Kane, Sarah 163 , 185n3 “ V i o l e n c e a n d M e t a p h y s i c s ” 4 , 1 6 , K a u n , A x e l 7 3 , 7 8 , 1 0 1 5 6 , 1 0 5 K e a r n e y , R i c h a r d 1 2 D e s c a r t e s , R e n é 1 3 K i l b o u r n , R u s s e l l 8 2 D o s t o y e v s k y , F y o d o r 3 6 , 1 6 8 n 1 6 Kingsley, Charles 156 D r i v e r , T o m 7 4 K l e m p e r e r , V i c t o r 1 9 , 1 4 9 – 1 5 0 D r y d e n , J o h n 5 K n o w l s o n , J a m e s 1 4 , 4 1 , 6 0 , 9 8 , 1 6 3 D u g u y , M i c h e l 1 4 K o j è v e , A l e x a n d r e 1 3 D u t h u i t , G e o r g e s 2 4 , 2 7 , 2 9 , 3 0 , 7 5 K r a n c e , C h a r l e s 6 0

E a g l e t o n , T e r r y 7 7 Lang, Berel 5–6 E r i c k s o n , J o n 4 3 – 4 4 , 4 5 Lapicque, Charles 91–92 Index ● 205

L a p o r t e , R o g e r 1 4 M i t c h e l l , W . J . T . 9 2 Large, William 108–109 M o r g a n , M i c h a e l 5 1 , 1 6 8 n 1 0 L e i b n i z , G o t t f r i e d 1 3 M u l d o o n , P a u l 8 1 L e i r i s , M i c h e l 8 8 – 9 3 M u n i e r , R o g e r 1 4 L e r m o n t o v , M i k h a i l 3 6 Levinas, Emmanuel—Works O r w e l l , G e o r g e 1 1 – 1 2 Le Dame de chez Wepler 3 6 Difficult Freedom 3 7 P a r m e n i d e s 1 3 Eros 3 6 P é r o n , A l f r e d 1 4 “Max Picard and the Face” 37 P f e i f f e r , G a b r i e l l e 1 3 , 1 6 9 n 2 3 “ M e a n i n g a n d S e n s e ” 5 5 , 7 9 P i c h e t t e , H e n r i 3 0 “Nom d’un chien ou le droit P i l l i n g , J o h n 9 7 , 1 2 1 n a t u r e l ” 1 6 7 n 1 P l a t o 6 , 1 3 2 , 1 4 2 , 1 4 4 – 1 4 5 , 1 8 4 n 2 “The Other in Proust” 138 P o i r i é , F r a n ç o i s 3 6 Otherwise than Being or Beyond P o n g e , F r a n c i s 7 4 Essence 4 , 8 , 1 8 , 5 1 , 5 6 , 9 8 , P r e n t i c e , C h a r l e s 8 5 1 0 6 – 1 0 8 , 1 1 1 – 1 1 2 , 1 1 9 , 1 2 6 , 1 2 7 , P u s h k i n , A l e x a n d e r 3 6 1 2 9 , 1 3 4 , 1 3 8 , 1 4 5 , 1 5 0 , 1 6 4 “ P e r s o n s a n d F i g u r e s ” 4 7 Q u i n e , W . V . O . 6 “Phenomenon and Enigma” 55–56 “Poetry and the Impossible” 37 R i c o e u r , P a u l 1 0 6 , 1 4 5 “Reality and its Shadow” 2–3 , 17 , R o b b e - G r i l l e t , A l a i n 9 4 , 1 7 9 n 4 7 2 3 – 2 9 , 3 1 , 3 6 , 4 9 , 8 8 , 9 1 R o b b i n s , J i l l 3 , 7 5 , 7 9 , 1 1 0 , 1 4 4 La Thé orie de l’intuition dans la Rorty, Richard 4 phé nom é nologie de Husserl 1 3 Totality and Infinity 4 , 7 , 2 7 , 3 2 , 3 6 , Sade, Donatien Alphonse Franç ois, 4 7 , 5 4 , 5 5 , 5 6 , 7 2 , 1 0 7 – 1 0 9 , 1 1 9 , M a r q u i s d e 8 6 1 3 4 , 1 4 2 , 1 5 1 , 1 6 6 S a i d , E d w a r d 1 2 0 “ T r a c e o f t h e O t h e r ” 5 5 , 7 9 S a l i s b u r y , L a u r a 9 – 1 0 , 1 6 8 n 1 5 , 1 7 8 n 3 8 “The Transcendence of Words: On S a r t r e , J e a n - P a u l 1 2 – 1 3 , 1 7 – 1 8 , Michel Leiris’s Biffures ” 8 8 – 8 9 , 9 3 2 3 – 2 9 , 3 6 , 3 8 L i n d o n , J é r ô m e 3 3 , 3 4 S c h o p e n h a u e r , A r t h u r 1 4 , 1 7, 1 6 3 , 1 6 5 L o c a t e l l i , C a r l a 7 , 1 0 , 1 7 5 n 2 4 S e n h o u s e , R o g e r 3 4 Shakespeare, William 153 Malka, Salomon 14–15 S t e w a r t , P a u l 8 7 M a r i o n , J e a n - L u c 1 5 M a s s o n , A n d r é 2 7 , 6 7 T a l C o a t , P i e r r e 6 7 M a u d e , U l r i k a 1 Les Temps modernes 2 4 , 2 7 , 2 8 , 8 8 , M a u t h n e r , F r i t z 7 2 , 1 7 5 – 1 7 6 n 4 1 7 1 n 1 8 M c G r e e v y , T h o m a s 1 3 , 4 0 T h e v a n e z , P i e r r e 1 2 0 M e r l e a u - P o n t y , M a u r i c e 1 2 T o l s t o y , L e o 3 6 M i c h a e l a n g e l o B u a n o r o t t i 3 0 Transition 2 4 , 3 4 M i l l e r , H e n r y 1 1 T r e z i s e , T h o m a s 7 M i l l e r , J . H i l l i s 1 6 7 n 3 M i l l e r , T y r u s 1 1 – 1 2 , 1 6 9 n 1 9 U h l m a n n , A n t h o n y 7 – 8 , 7 8 206 ● Index

V a l é r y , P a u l 9 6 W h i t e l a w , B i l l i e 9 4 – 9 5 , 9 8 – 1 0 0 , 1 0 5 V a n V e l d e , B r a m 1 , 2 7 , 2 9 , 6 6 , 6 7 , Worth, Katharine 163 7 5 – 7 7 , 1 6 7 n 1 W y n a n d s , S a n d r a 4 4 , 4 5 , 173–174n6 W a h l , J e a n 3 3 – 3 5 W e l l e r , S h a n e 2 , 9 – 1 0 , 7 2 , 1 3 5 Z i a r e k , E w a 8 , 9 , 1 2 6 – 1 2 7