The last post mostly included the priceless words of Samuel Beckett in the narrative of Molloy and Malone Dies; Yet, this one will divulge the labyrinthine nature of the narrative of The Unnamable.
The Unnamable can be considered as the last efforts of a distressed, relentless voice perturbed by the blurred definition of ‘being.’ A voice that is inclined to be as silent as its void surrounding demands it to be, while declining the inexorably boisterous nature of the voice sounds impossible. Therefore, the voice, though reluctant, follows the path of its precursors, namely, Malloy/Moran and Malone, in telling stories in order to mark the element of time quite passable.
Amongst the stories into which the voice either rushed or refrained from, I have selected a considerably short story, perhaps a love story of some kind, which follows:
They love each other, marry, in order to love each other better, more conveniently, he goes to the wars, he dies at the wars, she weeps, with emotion, at having loved him, at having lost him, yep, marries again, in order to love again, more conveniently again, they love each other, you love as many times as necessary, as necessary in order to be happy, he comes back, the other comes back, from the wars, he didn’t die at the wars after all, she goes to the station to meet him, he dies in the train, of emotion, at the thought of seeing her again, having her again, she weeps, weeps again, with emotion again, at having lost him again, yep, goes back to the house, he’s dead, the other is dead, the mother-in-law takes him down, he hanged himself, with emotion, at the thought losing her, she weeps, weeps louder, at having loved him, at having lost him, there’s a story for you, that was to teach me the nature of emotion, that’s called emotion [...] (406).
Samuel Beckett: "There is no name for me, no pronoun for me"
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Tags: literature, Samuel Beckett, The Unnamable, Trilogy
