(Fintan O’Toole’s article appeared in the 6/7 New York Review of Books.)

Beckett’s Political Imagination

by Emilie Morin

Cambridge University Press, 266 pp., $39.99

 

In April 1962, Samuel Beckett sent a clipping from the French press to his lover Barbara Bray: a report of the arrest in Paris of a member of the Organisation armée secrète. The OAS was a far-right terror gang whose members were drawn largely from within the French military. It had carried out bombings, assassinations, and bank robberies with the aim of overthrowing the government of Charles de Gaulle and stopping the concession of independence to Algeria. Among its targets had been Beckett’s publisher and friend Jérôme Lindon, whose apartment and office were both bombed by the OAS.

Samuel Beckett; drawing by Siegfried Woldhek

The press clipping detailed the capture of an army lieutenant who would be charged with leading an OAS attack on an arms depot outside Paris and a raid on a bank in the city. His name was Lieutenant Daniel Godot. Sending it to Bray was a typical expression of Beckett’s black humor. But it also serves as a reminder that his work is not an exhalation of timeless existential despair. It is, as Emilie Morin’s groundbreaking study, Beckett’s Political Imagination, shows, enmeshed in contemporary politics.

That such a reminder should be necessary is one of the more remarkable facts of twentieth-century cultural history. Beckett, after all, risked his life to work for the French Resistance, even though he was a citizen of a neutral country, Ireland. The astonishing works with which he revolutionized both the theater and the novel—Waiting for Godot and the trilogy of MolloyMalone Dies, and The Unnamable—were written immediately after World War II and the Holocaust. Vladimir’s question in Godot, “Where are all these corpses from?,” and its answer, “A charnel-house! A charnel-house!,” hang over much of his writing. Torture, enslavement, hunger, displacement, incarceration, and subjection to arbitrary power are the common fates of Beckett’s characters.

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Photo: Irish Times

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