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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
Samuel Beckett Today / Aujourd'hui – Brill
Published: Dec 8, 1993
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