By Samuel Beckett, Ruby Cohn
“[Beckett] is a significant author with whatever severe to assert in regards to the human situation: and for this reason one of many dozen or so writers those who find themselves excited by glossy guy looking for his soul should still read.”—Stephen Spender, the hot York Times
Renowned Beckett pupil Ruby Cohn has chosen a few of Beckett's criticisms, studies, letters, and different unpublished fabrics that shed new gentle on his paintings.
Read Online or Download Disjecta: Miscellaneous Writings and a Dramatic Fragment PDF
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Extra info for Disjecta: Miscellaneous Writings and a Dramatic Fragment
The experience of a thing and the sharing of an experience 'is not to coincide with it, nor fully embrace it in thought' (325). As noted above in Gadamer's experience of another language, it is 'without relinquishing his place and his point of view ... [that the perceiving subject must] reach out towards things to which he has, in advance, no key, and for which he nevertheless carries within himself the project, and open himself to an absolute Other which he is making ready in the depths of his being' (325-6).
It is 'always only a fold in the immense fabric of language' (1964^ 42; emphasis added). Language, body, and culture are interpenetrating: It is my body which gives significance not only to the natural object, but also to cultural objects like words. If a word is shown to a subject for too short a time for him to be able to read it, the word 'warm/ for example, induces a 22 Narrative Perspective in Fiction kind of experience of warmth which surrounds him with something in the nature of a meaningful halo.
The difference is one of degree, not exclusion: 'Already our existence as seers (that is, we said, as beings who turn the world back upon itself and who pass over to the other side ... ) and especially our ex- 36 Narrative Perspective in Fiction istence as sonorous beings for others and for ourselves contain everything required for there to be speech from the one to the other, speech about the world. And, in a sense, to understand a phrase is nothing else than to welcome it in its sonorous being' (1968, 155).
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