By Yoshiki Tajiri (auth.)
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Extra info for Samuel Beckett and the Prosthetic Body: The Organs and Senses in Modernism
Sample text
Mary Bryden argues that Waiting for Godot as a whole puts traditional patriarchy into question despite its all-male cast: ‘These males are not ordained as icons, concelebrating their masculinity; rather they participate in a diaspora of the dispossessed, deprived of control over both their ingestive (by poverty) and their excretive (by illness) capacities, and condemned to assume the (stereotypically female) status of waiting’ (83). Lucky is in line with this description in terms of his ‘stereotypically female status’ of being a flow.
I will start the next chapter with a discussion of this kind of prosthetic body, focusing mainly on the trilogy. 2 The Question of Boundaries This chapter discusses the prosthetic body in Beckett in relation to the question of the body’s boundaries. From the outset my definition of the prosthetic body stresses the significance of the interaction between the inside and the outside, which necessarily highlights boundaries. The previous chapter touched upon the boundaries of the body and the flows across them.
This is why ‘the patient makes himself prisoner by withdrawing into a room which he locks, or by pessimistically phantasying the whole world as a dungeon and thereby unconsciously comfortable in it’ (136). Many of Beckett’s characters tend to lock themselves into a closed space, and Rank would surely interpret this as a form of selfpunishment that enables escape from the birth trauma. 29 Beckett’s ‘Whoroscope’ notebook (MS 3000 at the Reading University Library), in which he jotted down inspirations for his novel Murphy in the mid-1930s, includes three pages, each explaining Ixion, Sisyphus and Tantalus in this order.