Giving Up and Going On: Probing the Alchemical Frequency of Beckett’s Comedies (Molloy, Malone Dies and The Unnamable)

“This cursed first person, it is really too red a herring.”

“Keep going, going no, call that going, call that on”


Dear reader: In your presence, I find a wider vantage point, not just this isolated center drowning in a soup of conflict and useless chatter, which is myself. If I’m only talking to myself I get lost in my Self. But with three of us, there is space enough for reflection.

Writing adjusts the frequency of attention. I don’t believe in myself too literally when I write. I probe rather than believe. The personal voice becomes a transparent drama. So I can see the Self with less vested interest, which means a little more honestly. Here, chains of meaning are still too short to be declared a lively intelligence. I’m mostly stagnant immaturities, a primordial ooze. The brain is bubbling with small sentiences, the grim grammar of a force that can’t quite commit to living with a longer attention span.

But here there is space to make these broader linkages and begin crawling to solid ground.

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