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FATIGUE AND DISGUST: The Addenda to Watt

FATIGUE AND DISGUST: The Addenda to Watt The 37 Addenda to Watt represent, according to Beckett, precious and illuminating material, and only fatigue and disgust prevented their incorporation into the text. 1 More prosaically, most of them represent material considered by Beckett at some point in the genesis of Watt, but partially deleted; and their partial presence is a problem. There have been two significant studies of the Addenda, neither fully satisfactory. J. M. Coetzee's 1969 Ph.D. dissertation offers a stylistic analysis of Beckett's revisions, and is particularly valuable for its exact description of the manuscripts and details of composition, but his treatment of the Addenda is incidental;2 while Rubin Rabinovitz's "The Addenda to Watt" (1984), though excellent in its elucidation of obscure literary and philosophical references, takes no account of manuscript evidence. 3 This study will recognise the best of both its predecessors, yet insist on a theme that neither explores: Beckett's deliberate use of the Addenda to evoke echoes of Watt's past and the stages of its composition. For Watt is not a New Critical well-wrought um. More simply, Watt is not a pot. It is not. It is full of holes - gaps and hiatuses, lacunae, deliberate errors and contradictions. As Doherty http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Samuel Beckett Today / Aujourd'hui Brill

FATIGUE AND DISGUST: The Addenda to Watt

Samuel Beckett Today / Aujourd'hui , Volume 2 (1): 175 – Dec 8, 1993

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Publisher
Brill
Copyright
© Copyright 1993 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0927-3131
eISSN
1875-7405
DOI
10.1163/18757405-90000021
Publisher site
See Article on Publisher Site

Abstract

The 37 Addenda to Watt represent, according to Beckett, precious and illuminating material, and only fatigue and disgust prevented their incorporation into the text. 1 More prosaically, most of them represent material considered by Beckett at some point in the genesis of Watt, but partially deleted; and their partial presence is a problem. There have been two significant studies of the Addenda, neither fully satisfactory. J. M. Coetzee's 1969 Ph.D. dissertation offers a stylistic analysis of Beckett's revisions, and is particularly valuable for its exact description of the manuscripts and details of composition, but his treatment of the Addenda is incidental;2 while Rubin Rabinovitz's "The Addenda to Watt" (1984), though excellent in its elucidation of obscure literary and philosophical references, takes no account of manuscript evidence. 3 This study will recognise the best of both its predecessors, yet insist on a theme that neither explores: Beckett's deliberate use of the Addenda to evoke echoes of Watt's past and the stages of its composition. For Watt is not a New Critical well-wrought um. More simply, Watt is not a pot. It is not. It is full of holes - gaps and hiatuses, lacunae, deliberate errors and contradictions. As Doherty

Journal

Samuel Beckett Today / Aujourd'huiBrill

Published: Dec 8, 1993

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