Beckett

... between Two Points (2 of 2)

Nauman walks the walk. Slow Angle Walk (Beckett Walk) (1968) does the work of envisioning Watt’s “way of advancing” for you.  I have cast Beckett’s description of Watt’s walk as creating a series of imperatives for the reader: you have to envision Watt’s “way of advancing,” then you have to edit that vision to account for unbending knees and feet, then again for position of head and arms. But really, it’s your prerogative (cue Bobby Brown).

Bloopers and essentialism

Bloopers are bloopers, but the study of bloopers is Theory. The study of bloopers can also be fun, and should be (even if an air of quasi-tragic resignation in the face of bloopers is the central, melodramatic posture of deconstruction). It can also tell us a little about the ways that we're all essentially essentialists.

I am, at any rate.

Narrators, Part 1 -- How can you know it's third person?

When I was a kid I hated what I called I-books, first person narratives.  It was not only that there was something unseemly about people telling the kinds of stories I liked (genre: heroic, adventurous, courageous) about themselves.  There was also something just a little bit viscerally off-putting about them.

Reported speech in the heroic couplet

While Beckett once advised another writer to stop "blazing away at the microcosmic moon," it's sometimes an irresisitible temptation to try to "flush the coverts of the microglot," as J.L. Austin put it (in "A Plea for Excuses"). And why resist it?