>second paragraph is 80 pages long
How did he get away with this?
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>second paragraph is 80 pages long
>second paragraph is 80 pages long
How did he get away with this?
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Because it's good?
It's literally nothing.
Nobody holds potatoBlack folk to human standards.
Try reading the last in the trilogy.
>Try reading the last in the trilogy.
Seriously. I can't tell if I'm getting fricked with.
I didn't mind Molloy & Malone Dies but frick me
You sort of are, but it's not Beckett wanting to mock the reader. The unnamable is his finale of trying to strip the novel down to basically nothing, to do the exact opposite Joyce did as he knew he could never compete or surpass his old master (I very much enjoyed Murphy and Watt however) so he went the opposite direction where there's no plot, no real character and not even a location.
>You sort of are, but it's not Beckett wanting to mock the reader. The unnamable is his finale of trying to strip the novel down to basically nothing, to do the exact opposite Joyce did as he knew he could never compete or surpass his old master (I very much enjoyed Murphy and Watt however) so he went the opposite direction where there's no plot, no real character and not even a location.
I get some of the word play and... I want to say thought experiments/ideas but the majority is just rambling / page filler (the worm has been "introduced")
All speech by a Beckett narrator is to pass the time because you cannot help but think about something even when you don't want to (silence).
>How did he get away with this?
publishing with Minuit/Olympia/Grove
Bump
What is there to bump? No one has contributed anything meaningful to discuss the book. The OP is a pseud post that says nothing at all.
I like the book, when I saw the thread it was the last one so I felt the need to save it.
My take on the long paragraph is just that it's done that way to give Molloy's narrative a degree of continuity that corresponds to immersion in the character of Molloy. In the Trilogy, paragraph breaks tend to indicate breaks in the fourth wall - except of course there is still the other wall in front of the fourth wall, at least in the first two books. They are used to show violation of the integrity of the nested sub-narrative. So the long paragraph really signals the most "conventional", least experimental part of the narrative, hence why it comes at the beginning and only reappears in a much more broken form in Malone Dies.
I don't think this is necessarily true. He does break his sapo story with frequent comments but he breaks the 4th wall in the way a 1st person narrator does even within a paragraph. Like when he is imagining the guy in the coat sitting in the park.
I'm now realizing that the Everyman's edition and the Grove edition are completely different in terms of how the text is laid out, I have no idea which one corresponds to Beckett's intent, or if he just wrote it all with no breaks and told the editors to do what they like with it. The two editions totally swap their approaches to MD and The Unnamable, it's very interesting.
I don't think it changes your point though, there are interjections outside of the line breaks in even in the Grove edition, I think they just tried to base it on how much of a discontinuity the interjection actually constituted.
sounds like a hack ripping off Faulkner's 4-page sentences.
Hated this fricking book. Ooohhhhh he SAT in a chair and CAREFULLY ate crackers one at a time... Like wtf? Shit and gay honestly. It was terrible. And I've read Ulysses 3 times.
Embarrassing.