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Some of my favorite passages of English prose appear in Samuel Beckett’s Molloy. Written in French and translated into English by Beckett and Patrick Bowles, the novel’s language is, to my ear and mind, perfection at every turn. I prefer the English version, probably because I knew it first. When I got to the French original, I couldn’t help but think of it as subordinate to the translation.
“Translation” is a funny word to think of when thinking of Beckett: he chose to write in French to escape the mastery he had in English. Why Beckett would have wanted to escape mastery is clarified by time spent with his 1932 first novel A Dream of Fair to Middling Women. The novel’s style apes Joyce’s at its more playful:
Behold Belacqua an overfed child pedalling, faster and faster, his mouth ajar and his nostrils dilated, down a frieze of hawthorn after Findlater’s van, faster and faster till he cruise alongside of the hoss, the black fat wet rump of the hoss. Whip him up, vanman, flickem, flapem, collop-wallop fat Sambo. Stiffly, like a perturbation of feathers, the tail arches for a gush of mard. Ah… !
And what is more he is to be surprised some years later climbing the trees in the country and in the town sliding down the rope in the gymnasium.
In French, Beckett took refuge from his gifted ear, tuning it to a simpler inner music. Thus we get this, in translation, in Molloy:
I listen and the voice is of a world collapsing endlessly, a frozen world, under a faint untroubled sky, enough to see by, yes, and frozen too. And I hear it murmur that all wilts and yields, as if loaded down, but here there are no loads, and the ground too, unfit for loads, and the light too, down towards an end it seems can never come. For what possible end to these wastes where the light never was, nor any upright thing, nor any true foundation, but only these leaning things, forever lapsing and crumbling away, beneath a sky without memory of morning or hope of night. These things, what things, come from where, made of what? And it says that here nothing stirs, has never stirred, will never stir, except myself, who do not stir either, when I am there, but see and am seen. Yes, a world at an end, in spite of appearances, its end brought it forth, ending it began, is it clear enough? And I too am at an end, when I am there, my eyes close, my sufferings cease and I end, I wither as the living can not.
Another way of explaining Beckett’s exodus from English appears in the fantastic new The Letters of Samuel Beckett, 1929-1940. The first of four projected, this first volume is a marvel. Here’s a paragraph from a letter of Beckett’s to Axel Kaun, as translated from the German by
Martin Esslin :
It is indeed getting more and more difficult, even pointless, for me to write in formal English. And more and more my language appears to me like a veil which one has to tear apart in order to get to those things (or the nothingness) lying behind it. Grammar and style! To me they seem to have become as irrelevant as a Biedermeier bathing suit or the imperturbability of a gentleman. A mask. It is to be hoped the time will come, thank God, in some circles it already has, when language is best used when most efficiently abused. Since we cannot dismiss it all at once, at least we do not want to leave anything undone that may contribute to its disrepute. To drill one hole after another into it until that which lurks behind, be it something or nothing, starts seeping though–I cannot imagine a higher goal for today’s writer.
Or is literature alone to be left behind on that old, foul road long ago abandoned by music and painting? Is there something paralysingly sacred contained within the unnature of the word that does not belong to the elements of the other arts? Is there any reason why that terrifyingly arbitrary materiality of the word surface should not be dissolved, as, for example, the sound surface of Beethoven’s Seventh Symphony is devoured by huge black pauses, so that for pages on end we cannot perceive it as other than a dizzying path of sounds connecting unfathomable chasms of silence? An answer is requested.
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
Minutes after a tornado hit Shiloh, Illinois, in April that the town’s warning siren sounded:
A bowl of 4,000-year-old noodles was found in northwestern China; and a spokesman for the Chinese Academy of Sciences said that “this is the earliest empirical evidence of noodles ever found.”
Rodrigo Duterte, the president of the Philippines, announced that he has ordered the country’s navy and coast guard to bomb the ships of kidnappers even if civilian hostages are on board.
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"It is an interesting and somewhat macabre parlor game to play at a large gathering of one’s acquaintances: to speculate who in a showdown would go Nazi. By now, I think I know. I have gone through the experience many times—in Germany, in Austria, and in France. I have come to know the types: the born Nazis, the Nazis whom democracy itself has created, the certain-to-be fellow-travelers. And I also know those who never, under any conceivable circumstances, would become Nazis."