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"The first novel of Samuel Beckett's mordant and exhilarating midcentury trilogy introduces us to Molloy, who has been mysteriously incarcerated, and who subsequently escapes to go discover the whereabouts of his mother. In the latter part of this curious masterwork, a certain Jacques Moran is deputized by anonymous authorities to search for the aforementioned Molloy. In the trilogy's second novel, Malone, who might or might not be Molloy himself, addresses us with his ruminations while in the act of dying. The third novel consists of the fragmented monologue-delivered, like the monologues of the previous novels, in a mournful rhetoric that possesses the utmost splendor and beauty-of what might or might not be an armless and legless creature living in an urn outside an eating house. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature."--Publisher's website.… (meer)
Beckett's three great novels like his plays, break new ground in their structure and narrative. A bleak emptiness hovers throughout the three novels that one may consider a sort of trilogy. I was mesmerized from the opening pages of Molloy and wondered what it was in this bleak indeterminacy that was so beguiling. Reading slowly and closely I slowly found a method in this seemingly chaotic world. Drawn inward by moments of humor that counterposed the strange events, if they can be called that, I was drawn forward by the narrator even as the narrative itself seemed to be collapsing. These are three novels with so much wonder and ideas to think about that the attentive reader cannot fail to be impressed. I found these novels to be moving in a unique way and important additions to the literature of modernism.
In Samuel Beckett's novel, Molloy, the first sentence states bluntly, “I am in my mother's room.” This is followed on the first page of the novel with the phrase “I don't know” repeated five times, and if you add “I don't understand” and “I've forgotten” you have eight assertions of lack of knowing. How can or should the reader interpret those comments as establishing anything but a high level of uncertainty both about what the narrator (I) is telling us and what the narrator, may or may not, believe about himself and the world around him? Of most interest to this reader is the comment that the narrator would like to “finish dying” and that his mother is dead, although he is not sure exactly when she died.
What is the reader's expectation for the succeeding 167 pages of the novel based on the first page filled with uncertainty and death? There is work mentioned, but the pages he works on are filled with “signs I don't understand”. Can we say the same for ourselves as readers? At best we are left with snippets of possible information about a handful of others (the man who comes every week, they who may or may not have buried his mother, the son that he may or may not have, and the chambermaid without true love, and yet another who was the true love-whose name he has forgotten, repeatedly). As I reread these lines I cannot help but note the humor of the situation. ( )
It's difficult for me to write about this one. When I was a young undergraduate, Beckett's work hit me like a sandbag between the eyes, and this trilogy was the ultimate blow. It was like suddenly understanding the *how* of how awful everything was, in my viscera. I never quite recovered from it: I'm not sure whether to thank Samuel Beckett, or curse his memory.
Of course you must also understand that, as he's showing you the architecture of wrong-ness, Beckett is also excruciatingly funny.
What a trilogy of despair & hopelessness this is! Or, at least, that's the way I remember it. After I read this I'd pretty much had enuf of Beckett for awhile. If you've ever wanted to get inside the mind of a hopelessly trapped person.. & then do it again, these 3 novels are for you! I shd really re-read these but, the usual reason not to holds: there're too many things I haven't read yet that my reading time can be better spent on. ( )
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
I am in my mother's room.
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Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
...I don't know, perhaps it's a dream, all a dream, that would surprise me, I'll wake, in the silence, and never sleep again, it will be I, or dream, dream again, dream of a silence, a dream silence, full of murmurs, I don't know, that's all words, never wake, all words, there's nothing else, you must go on, that's all I know, they're going to stop, I know that well, I can feel it, they're going to abandon me, it will be the silence, for a moment, a good few moments, or it will be mine, the lasting one, that didn't last, that still lasts, it will be I, you must go on, I can't go on, you must go on, I'll go on, you must say words, as long as there are any, until they find me, until they say me, strange pain, strange sin, you must go on, perhaps it's done already, perhaps they have said me already, perhaps they have carried me to the threshold of my story, before the door that opens on my story, that would surprise me, if it opens, it will be I, it will be the silence, where I am, I don't know, I'll never know, in the silence you don't know, you must go on, I can't go on, I'll go on.
Informatie afkomstig uit de Engelse Algemene Kennis.Bewerk om naar jouw taal over te brengen.
Molloy, Malone Dies, The Unnamable
Uitgevers redacteuren
Auteur van flaptekst/aanprijzing
Oorspronkelijke taal
Gangbare DDC/MDS
Canonieke LCC
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Wikipedia in het Engels
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▾Boekbeschrijvingen
"The first novel of Samuel Beckett's mordant and exhilarating midcentury trilogy introduces us to Molloy, who has been mysteriously incarcerated, and who subsequently escapes to go discover the whereabouts of his mother. In the latter part of this curious masterwork, a certain Jacques Moran is deputized by anonymous authorities to search for the aforementioned Molloy. In the trilogy's second novel, Malone, who might or might not be Molloy himself, addresses us with his ruminations while in the act of dying. The third novel consists of the fragmented monologue-delivered, like the monologues of the previous novels, in a mournful rhetoric that possesses the utmost splendor and beauty-of what might or might not be an armless and legless creature living in an urn outside an eating house. Taken together, these three novels represent the high-water mark of the literary movement we call Modernism. Within their linguistic terrain, where stories are taken up, broken off, and taken up again, where voices rise and crumble and are resurrected, we can discern the essential lineaments of our modern condition, and encounter an awesome vision, tragic yet always compelling and always mysteriously invigorating, of consciousness trapped and struggling inside the boundaries of nature."--Publisher's website.
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In Samuel Beckett's novel, Molloy, the first sentence states bluntly, “I am in my mother's room.” This is followed on the first page of the novel with the phrase “I don't know” repeated five times, and if you add “I don't understand” and “I've forgotten” you have eight assertions of lack of knowing. How can or should the reader interpret those comments as establishing anything but a high level of uncertainty both about what the narrator (I) is telling us and what the narrator, may or may not, believe about himself and the world around him? Of most interest to this reader is the comment that the narrator would like to “finish dying” and that his mother is dead, although he is not sure exactly when she died.
What is the reader's expectation for the succeeding 167 pages of the novel based on the first page filled with uncertainty and death? There is work mentioned, but the pages he works on are filled with “signs I don't understand”. Can we say the same for ourselves as readers? At best we are left with snippets of possible information about a handful of others (the man who comes every week, they who may or may not have buried his mother, the son that he may or may not have, and the chambermaid without true love, and yet another who was the true love-whose name he has forgotten, repeatedly). As I reread these lines I cannot help but note the humor of the situation. (