Beckett+translating+Beckett

Beckett+translating+Beckett - - v ' f r-Ji - ' . .. ' .'...

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Unformatted text preview: - v ' f r-Ji - ' . .. ' .' IL' Ah -- .s'mkz;r,.'iw; ,m- ". -‘:-'3::o's-::.-.t~'.'i-J-.i—S~.u"A; ». . . ~ . 396M -. '4'. i '_.r (-1%I¥.::'g-) 191:3" - H s f “‘5‘ -:'-'_'.-'_I t - M" ’quiamzrfivtcu-snw : "TRANSLATION AS A SEW" JELOJ No. J’— 194 documentary HUGH KENNER Beckett Translating Beckett: Comment C’est Eight pages "From an Unabandoned Work” was Samuel Beck- ett's autumnal sign of life in the September—October Evergreen Review of 1960 (4.14, 58-65): unpunctuated murmurs spaced down the page. next another image yet another they’ll soon cease it seems it's me from head to foot with my mother’s face I see it from below my mother's face it is like nothing we areon alatticed veranda tangledwithverbenatheper- fumed sun spangles the red tiles good God the huge head batted with birds and flowers lowers on my pale curls the eyes burn with severe love while mine my head thrown back at the ideal angle oEers her its pale upcast eyes my eyes kneeling bolt upright on a cushion shapeless in a white nightshirt clasping my hands with all my strength I pray according to her instructions it isn’t ever she drones a belief of the Apostles’ Creed I look at her lips while she can't see me shestopstheeyesburnagainIcastupmineinhasteand repeatallwrong the air vibrates with the hum of insects it’s over it goes out like a lamp blown out [35] This was "Translated from the French by the author.” The French appeared the following spring: 180 pages in three sym- - I.——-—. - Beckett Translating Beckett.- Cammen: C’est : 195 metrical parts, cafled Comment C’est (Editions de Minuit, 1961). Minute diEerences suggest that the English corresponds tofa penultimate version. But not revision of French but re- ‘ thinking of the English accounts for the faint that in How It is, “Translated from the French by the author” (Grove Press, 1964), barely twenty consecutive words lit a stretch can be found to tally with that 1960 specimen. For instance: we are on a veranda smothered in verbena the scented sun dapplestheredtilesyeslassureyou the huge head batted with birds and flowers is bowed down overmycurlstheeyesburnwithseverploveIoEerher mine pale upcast to the sky whence conteth our help and which I know perhaps even then with shall pass away - in a word bolt upright on a cushion on knees whelmed in a nightshirt I pray according to her instructions [15] --where the met juste is “whelmed,” with “Hottant dans une chemise de nuit" for the French and “shapefihss in a white night- shirt” as the transitional draft. Then: she stops her eyes burn down on me agifin I cast up mine in haste and repeat awry theairthrillswiththehumofinsects that’s allit goes out like a lamp blown out [15] Again the exact word, “awry”; yet again, “thrills.” And inconspicuous stabs of vividness, in this medium so spare that no phrase can go really unexposed: “the ejres burn again” be- coming‘hereyesburn downon me again.”§The Frenchis “elle acheve ses yeux se rallument [e reléve vite Ies miens et repete de travers"—to which the 1960 version was"closer,” “the eyes” for “ses yeux" corresponding to the fact that French pronouns have more taxonomic than personal import; The English, how- ever, Beckett elected to intensify: her eyes, and burning down, and on me. From beginning to end, How It Is is Comment C’est less translated into English than ' in English drop by drop, with the unique authority of a great stylist equally master of both tongues and making each tongue do what it has never done before. Perhaps so much thought has never gone, twice over, into the disposition of such common words, the little nuts and bolts you and I screw in with our dyes shut, “her” and ‘2 ._ '1' a .. wig-n- IHHVH a x.‘ .-.“.-:-.n.-.\,-u_ ._'_. ‘: e -. . r}. .».. mamas “the” and “c'est fini" and “that’s all.” In the age of Wittgenstein and Louis Zukofsky, whose “A” documents some forty years’ concern with, among other rabbinical matters, the implications of the indefinite article, one can envisage whole languages mdaimedhtfleidiomschefishedhkeHomericformulaeas beingthewmmmestcunencyofspeechhenceintrinsictoa million minds, hence marvelous. Comment c’est, for example: howitis: allofphilosophyfoomotessuchaphrase. I commenced adumhraling such matters twelve years ago on first opening the English Malloy, where we find at the bottom of the second page of text, Thisfime,thenoncemore1think,thenperhapsalast time, then I think it'll be over, with that world too. Premoni- tionofthe lastbutonebutone.Allgrowsdim.Alittlemore and you'll grow blind. It’s in the head. It doesn’t work any more, it says, I don’t work anymore. You go dumb as well andsmmdsfadaThethresholdscarcelycrossedthat’show it is. It’s the head. It must have had enough. So that you say, I’ll manage this time, then perhaps once more, then perhaps alast time, nothing more. What caught my ear, and holds my attention still, was the eight~word sequence “You go dumb as well and sounds fade,” a cadence as achieved as any of Vergil’s. It’s magic plagued me. Threeyears laterIwas suficientlyimmersedinthewayofsuch phmes to be writing a book called Samuel Beckett. Fortified by the assurance that his prose canon was achieved— hehadsaidin1958thathedidnotseehowhecouldwrite another novel—I was polishing in January. 1961 a penultimate draft celebrating the master of the declarative sentence when themailfromPar-isbroughtacopyofCommentC’est, anovel evidently, 177 pages. and with no sentence from beginning to exceptwhereaBeckettphrasemapspointforpointwhat would elsewhere he called a sentence. Butofcourse hehad merely (merely!) gone still deeper, dis- carding not simply capitals and periods but all those little be- ginnings and endings, using white space to breathe with while hearticulatestheverynervoussystemoflanguage,thephrases. the single words. So I pried open joints in my typescript to receive new material, including an eighteen-page sequence on the new work with quotations in English for the reader’s com- fort. I translated most of them myself, stringing English phrases together in the sequence of the French ones, with that Ener- - a‘qv— — nan—— Beckett 1'ng Beckett.- Comment C’est : 197 greenfieoiewspecimenforexiguousmocleLThisexcer-ptwas printed in the Spring 1961 Spectrum (5.1, 3—20), and I sent Beckett a copy. 1' He seemed to like it but found the translations “groggy,” and offered to try to improve them some time. :I didn't press him— Sam Beckett had better things to do than retouch my para- phrases—hut before long he was pressing Grove Press for thermofaxes of all the pages of the Samuel eckett MS that had Comment C’est quotations. These came ack to Grove with painstakingly calligraphed revisions. I saw‘ them once. I wish I had them. Luckily between the Spectrum version and my printed book they can mostly be reconstruclted. They are rather exercises thanessays toward theultimateyersion, whichthey- seldom resemble, any more than does the Evergreen Review excerpt. But watch. . sorti de 1a 1a route qui descend bordée d’arbres des milliers tous pareils méme essence jamais su laquelle des kilometres de rampe tout droit jamais vu ca grimpei; la-hout l’hiver 1e ' verglas les branches noires grises de gifire elIe la-haut au bout mourant pardonnant toute blanche [95] Fromthe lastthirdofthisilhad extracted wintersldmiceblackhranchesgreywithicesheup there at the end dying forgiving all white of which Beckett made wintericyroadblackbranchesgreywithrime‘sheup there at the top dying forgiving all white ' This (1) registers the fact that oerglas and glare are different words, an important detail in a work where so much vocabulary is recycled; (2) by specifying the road supplies a glimpse of what my excerpting had excluded; and (3: takes care of the irrevelant aflinity between at the end and ! ying. It does these three things without being one word longer than the attempt it corrects. 01' watch him undisfincflon: cette vie done qu’il aurait cue inventée remémorée un peu de chaque comment savoir cette chose fla-haut i1 me la donnait je la faisais mienne ce qui me chantait les ciels surtoutlescheminssurtout[...] . [89] -" " (-1. u... - we 1r:- a 1-. Mam-mm'mvwm ' - u) a . e . 198 : man My version: thatlifethenhewouldhavehadinventedremembereda littleofeachhowtotellthatbusinessnptherehegaveit melmadeitminewhathesangtomeskiesespecially roads especially Groggy indeed. I had misread "ce qui me chantait" as “ce qu'il me chantait"; blurred the syntax of “had”; made “business” mistakeable for the direct object of “tall”; dissipated the dubi- eties that commence with the first subjunctive; and managed no rhythmic structure whatsoever. His rewriting: thatallegedlifethenhehadhadinventedremembereda little of each no knowing that thing up above he gave it tomeImadeitmine whatIfanciedslciesespeciallyroads especially Hisltey change, apartfrom correcflngthedownrighterror,was toalter‘howtotell’to‘holmowing’: aterseidiominsteadof a contacted phrase. Being an idiom, and being pulled on by "alleged," it draws away from “that thing” so that we don't tend to read “no knowing that thing up above” as a constituent phrase. The ear finds the proper grouping: that alleged life then he had had invented - remembered a little of each no knowing” that thing up above he gave it to me I made it mine what I fancied skiesespecially roads especially Such minutiae, comparable to the spin of an electron, are im- perceptible amid the spot welds of normal prose; but Comment C’est gets useful work from the microforces of language. One more cure for grogginess: un jour nous reprendmns la route ensemble [. . .] nous aidions mutuellement a avancer tombions de concert et - attendions dans nos bras 1e momentde repartir [70-71] Beckett Trmlaung Beckett: Comment C'est : 199 My version: onedayweshouldsetforthtogether...h lponeanother walkfall downinunison and await embra I gthemoment toresume His revision: one day we should set forth again together . . . help one anotherforwardfalldowninunisonandliethereineach other’s armstillitbe timetogoon --a “forward” for a “walk” (which I should have remembered isn’t a Comment C’est mode of progression l, and thirteen elo- quent little words to rqilace a polysyllabic archness. The reader who wants to see Beckett’s versions of these details may find them in the Grove text of How It Is at pages 77, 72, 57. In the three longer examples that follow I give all fem—French, Kenner, Beckett improving Kenner, final Beckett—since much of the interest in these comparisons de- pends on inspecting his final decisions. My v'iersion of the first isn’t in the Spectrum article; I’ve just located it amid carbons of old typescripis. It was a citation for page GB of my book, to illustrate .an Occasionalist courtship: the doll+like synchroniza- tion of two people's movements, reseen from. a time and place of remote agony. ' ’i u; 49;: .._..._.'.; emanates—am; Law—infli- I‘i- ' .33 . ,-.‘ tin-9n h—;r'::u:g¢-Jw._.é . antic-41L .: . -, . uh _ "staff-Lian c. -. .511 -‘-.|-.- L1 '- ~'.. )r‘m ..__”.l _ _.,_'._ . I.. l- .L" ' -f ‘ I Jim's;- we. \AM‘: '1. III ‘ - I : Vii-$1- .s ."fluf. ". - I“ ' . ':‘-.~ '3. .' 1 " ‘ “'. ' . - __ ‘5‘¥Wfi'£'fl‘¥>feii‘v \' "‘.' .. mi- sebalaneantlechiensuittétebassequeuesurlesconillesrien hvoiravecnousilaenlamémeidéeaumémeinstantdu Malebrancheenmoinsrose [...] [. . .] demi-tour vers l'intérieur fugitif face a face h‘ansferts rattachement des mains balancement des bras dégustation en silencedelameretdesllestétesquipivotentcommeune seuleverslesfiiméesdelacitérepérageensflencedesmonu- mentstétesquireviennentcommereliéesparunessieu soudain nous mangeons des sandwiches h bouchées alternées chacunlesienenécbangeantdesmotsdouxmachériejemords elleavalemonchériellemordfavalenousneroncoulonspas encore la bouche pleine mon amourjemordselleavalemonhésorellemordfavale brefnoir et nousrevoilhnous éloignantdenouveauatravers champslamaindanslamamlesbrassehalaneant[...] —-comm-r dnsr, 37 Beckett Translating Beckett.- Comment C’est : 201 m; sudden hop left right we are moving nose up arms swinging thedogfollows head downtaflonhislbaflsnothingtosee he had the same idea at the same instant Malebranche but paler[...] [. . .] half-turn inward fleeting face-to-llace transit rejoining of hands swinging of arms silent savoring the sea and islands headspivotingasone towardthesm ofthecity silent identification of landmarks heads swinging back as though joined by connecting rods suddenly we are eating sandwiches in alternate bités each his own while exchanging soft words my dent I bite she swallows mydarlingshebiteslswallowwesaynoinoremouthsfull my love I bite she swallows my heasurei she bites I swallow brief interval and there we are again missing the field hand inhandarmsswing'lngL..] ' 1. Surpdsinglyeasy,inthisdssueofsrnallhinls.4tomissthepointthat later seems obvious. “Hopi” means “Get moving.” but with no excla- mation pointldidn'tguess itemanalaed fromthedogandtook itfor an Angliclsm. And “den i voir avec nous” I sfillt apart, attaching the firsthalftothedog's loweredheadandthesecpndtommémeidée." And having supposed that “mucoulons” was an elegant variation of “échangeant des mots doux," I got from “pas encore” “not again” instead of “not yet.” Beckett requires of the indel- a delicate trust in normalities of idiom and rhythm. 5 'n'. ..'. . .. ‘.‘.' .:!-..l'l'.‘§i.. Ed‘s-fix" w—-€-"'-‘--'I'1.I"gi "-m i. \r grime”. 1 Has; wan-5'41 in 'u.‘.g..‘.-‘;;_sflg-. 29.? -rs- . _.e—.'-a.-..._.', ' 4'- u-tité‘iqn-r'flla'rrhhchfip, -.'_3_-'_,‘-*...- i929. \ls. 1.3. +633flu .. herd-1a., 202 : man suddenly yip left right 0E we go chins up arms swinging the dogfollowsheaddowntailonhisballsnothingtodowithus hehadthesameideaatthesameinstantMalebi-anchelessthe rosyhue [...] [. . .] right about inward turn fleeting meeting face to face transfers and hand in hand again arms swinging silent relishing ofseaandislesheads pivotin asonetowardstheeityfumes suddenly we are eating sandwiches in alternate mouthfuls I nfineshehersandexchangingendearmenlsmysweetgirllbite sheswallowsmysweethoyshehitesIswallowwedon’tyet one with our bills full darling girlIbite sheswallowsdarlingboyshebiteslswallow briefblackoutandthereweareagainofithroughthefields handinhandarmsswingingL..] mam, 86—87 Thelittlepacketsofmovementintowhichtheeomicvisiondissects thissceneareanalyzedintolitflepacketsofidiom:hencesuchde~ milsas“handinhandagam”ratherthan“rejoiningofhands.”And thoughthecontentoftheirdialogueisnegligiblethereisexpressive and inapressive negligibility: “my sweet grl” and “mysweet boy” preservesthemechanical alternafionofgenders (chéde,chéfl).As for “dégustation” (as when Paris restaurants in spring placard Dé- gestation des huflres), he apparently found “relishing” amore ex- plicitly gastronomic equivalent than “mvoring.” Beckett Translating Beckett; Comment C’est : 203 _—-———u—-—————-—~w—-——-— .='—— m.—..:—-w—n._ :—-—-—n ' I suddenly yip left right all we. go chins up hrms swinging the dogfollowsheadsunktailonballsnoreference tousithadthe same notion at the same instant Malebranelie less the rosy hue [...] [. . .] about tum introrse fleeting face to face transfer of things swinging of arms silent relishing of sea and isles heads pivoting asone to the city fumes silent location of steeples and towers heads back front as though on an axle suddenly we are eating sandwiches alternate bites I mine she hers and exchanging endearments my sweet girl I bite she swal- owsmysweetboyshebiteslswallowwetlon’tyetcoowith our bills full . my darling I bite she swallows my boy she bites Iswallowbriefblackandthereweareagaindwlndlingagain acrossthepastureshandinhandarmsswinglng[...] —H9w rr Is, 3031 Some darker pigmentation in this final version: “sunk” for “down” and “it” for “he,” extendingtheprlndplewl'lichiintheprevious ver- sion replaced “smokes” by “finnes.” “Repérage en silence des monu- ments” has now become “silent location of steeplm and towels,” an of the French. my version having obscured the fact that the landmarlcsweretn-han, andhisfirstversionhtill under the pull of French words?) having obscurtties of its on “Mouthfuls” be- comes the more abrupt "bites," and “blackout? “black”: the trend is toward monosyllables each with maximized selnantic content. This atom—age prose emits its meanings in quanta. “dwindling” in the final gobbet is a liberty only the author could hive taken. Ami note thefrlgid“introrse" just as tender glancesmeet. 21“- . 2—! .l a .. ' 't".-i’.T " '.- .11, .1, .-' .-r.‘.. " ..~_",\ ' .' ;.1 .I ;.-.;;. Ahnhzin‘m'wuif ennui“ " £3.33“; bu . "F'u-z ': -‘T‘ .m— " “hit-ma- M-fi—iqc-‘i'biéfi; mus»; k . 2043mm untelamoneellementdesacsal’entréedelapistequetoute progression impossible et qu’a peine donnée a la caravane l’im- pensable premiere impulsion elle se Serait bloquée a jamais et figée dens l’injustice alors do gauche h droite ou d’ouest en est l'atroce spectacle jusque dans la nuit noire des temps a venir du hourreau aban- donné qui ne sera jamais victime puis un petit espace puis achevé son bref voyage aplafie au pied d’une montagne de vivreslavictimequineserajamaishourreaupuisungrand espaee puis un autre abandonné ainsi de suite inflniment —oommN'r c’es'r, 165 Within the eostive conventions of Comment C’est these paragraphs correspond,say, toanespedaflyluxidpageofGibbonAr-hetorical mnentmiedbyunusualsyntacticenagyrunsdmeachpara- graphlikelightningdownawallinhell. Ratiodnaflveeaergies have been gathering for pages; at long last the narrator grasps in its en- tirety a reality which may be wholly-menial but at least unites his faculties in horror. Not only does the spectacle he has exoogitated immobilize injustice, it impossibiliza all the preceding narrative. ._ ._. _...... .. Beckett Translating Comment C’est : ans W such a heaping of sacks at the very start of the route that all progression impossible and the caravan having barely received its unthinkable first impulse would be blocked for ever and congealed in injustice then from left to right or west to east the atrocious spectacle on into the black night of future time of a tyrant abandoned whowillneverbeavictim thenashorts acethenhisbrief journey halted flat at the. foot of a moon of provisions the victim who will never be a tyrant then along space then another abandoned and so on infinitely . —KENNEB nnAr'i' Nothingmngwidtbfibutsflflnotquiterlght. Itrnakes no eEort to solve two central problems: how to get equi eat: for the French word couple “balm-can” and “victime,” betWeen which, as between such persons, there exists a relati of sinister intimacy, and how to keep the monosyllahic adjectives ( " “brief.” “flat,” “long”) from degenerating into remplissage. m- mJ—T—I «a. reagent: Ravi-Ti”: 153735315: ""_' “filamem ' 206 : mum .— — --—- --—---..—._-——- such a mountain of sacks at the very setting forth that all progress impossible and no sooner imparted to the caravan its unthinkable first impulsion than it at a standstill for ever and frozenininjustiee thenfi'omlefttorightorwesttoeastthe atrocious speotaele on into the black night of future time of a tormentor abandoned who will never be tormented then a little space then his brief journey over prone at the foot of a mountain of victuals the tormented who willneverbe tormentorthena greatspace then another abandoned and so on infinitely m mom-1; 197 Beckett's characteristic small predsions: “heaping” has become “mountain” and “impulse” the more pedantic “impulsion.” More chametaisticsfllLasyntacflcsh'uctureofoonspimousfrigiditynow govu'nstheenflrefirstpamgraphAnd“a1’enhéedelapiste”has become “at the very setting forth," and “bloqu " “at a standstill,” nnprovementsonmyvezsioneasiertoapprehendflmntoparticu- larize. "formerWr/tormented’ solves the "bourreau/vietlme" prob- lem. The spaces are “little” and “great,” not “short” and “long,” heeameseemnoth-aversed. notevenmentallytraversed: thisisa dmiifizm. Against this diagram,";'prone" is oddly human, like “vie- Bockou Translating Beckett; Comment C’est : 207 n—nn————_-—n—n————.__...._——-—_-. . —_._ a..- _-—-—p_-.-. _. H suchanacervafionofsaclrs attheveryouisbtthatallprogress impossible and no sooner imparted to the cairavan the unthink- able first impulsionthan arrested for ever andfrozen ininjustice then from left to right or west to east the atrocious spectacle on into the black night of boundless futurity of the abandoned unmentornevertobevicfimthenalittlespaeethenhis brief journey done prostrate at the foot of a mo ' of provisions thevictimnevertobetormentorthenagreat acethenanother abandoned so oninfinitely —HOW 11' Is, 137 Thenewuouvaflleofmurseis“aoervation,"wllidisufllcestosnap thewholepassageintnadiagmnunaticniodqagainstwhiehthe gmtesquedesstmdmoontortedmlief.Thispemilsrelaxingthe synmxwldchinthepreviomversionperfmmedasimflarfunction, so“thatitatastandsflllforever”canbecometh¢morenatural“than mestedfweva.”AthemmemmryhasbdenmEeredmseep into“the black nightofboundless futurity.”andalittlelessEucli- dean oonyuence is discernible in “Mentor/victim” than in “tor- mentor/immented.”Anddidrhythm governthebhangefrom“prone atthefootofamountainofvicmals”to“pmsthbeatthefootafa mountainofprovisions?”0rdidhewanttheoveitonesofproshation in“prostrate"?And“provisions,°not“victuals,” would certainly,lil<e “aoervatlon,” be Gibbon’s word. ' ' 21mm thesmallneedofalifeofavoiceonthepartofonewhohas neither the voice extorted a few words life because of cry that proves itindeepwiththebladethat’sallisneededalittlecryallisnot deadwedrinkwe give to drink goodbye they were I quote good moments yes somehow good moments when you think ' PimandlparttwoandBomandeartfourwhatthatwillbe whenyouthink tosayafterthatwelmeweachothereventhen cleaved togethertwo hodiesoneinthedarkthemud motionlessbutfortherightarmhriefflurrynowandthenall theneedful tosayafterthatthatlknewPimthatPimknewmeandBom andlthatwe'lllcnoweachotherevenforamoment Amen—3am“, 196 "Onthepartof’completes 'need”lessamblguouslythandid“by.” TheprindpleBeclsettappearstofollowthroughoutisthatinflle absenceofsentencestheunitofcmnposiflonisthephmsqsofaras possible shaped by spoken idiom. Hence “in deep with the blade." “all the needinl,’ and (his solution for “ce que 9a sera") “What that ' willbewhenyouthink”;heneealsohisdelefionof“personalknmvl- edge” as unidiomatic. Something about “maldng a single body” dis— pleased him; hence “two bodies one” with in its vicinity “cleave” in a sense now rare. .-_—. . - Beckett Translating Beckett: domment C’est : 211 thepaltry need of alifeavoice of-onewhohas thevoiceextortedafewwordslifebecausebfcrythat’sthe proof good and deep no more is needed a little cry all is not dead one drinks one gives to drink goodbye they were I quote good moments somehow or other good mo~ ments when you think Pim and me part two and Born and me part four what that wille ' to say after that we knew each other personally even then glued together like a single body in the dark themud motionless but for one right arm brief flurry at: and off all the needful tosayafterthatlknewPimthatPimlmewmeand Bom andI thatwe shall know each other even fleetineg —_aowrrm, 122—23 Phlebotomyfihepreviousversionlmdalittlemotevigorthanwas nedtheneethisdietionisatmanypoinlsclosertothatofmy version(thatis,towhatonefirstthinksofonlookidgattheFrench); “glued” has replaced “cleaved.” and “oe que 9a sets” is just “what thatwillhe,”whiehl’drejectedasinexpensive,and“kneweach other personally," the tiredest cliche, has been admitted, mdflflseadnglehodfhasoustedthesmk“hfiobodiesone.”A smdiedbleaknesspelmeateseverylineWVhichiswsaythatthemot ' justeis at times over-juicy, afactwe tend to forget incur relish for strongphrases.ItisnorebuketoErnestFenollosaitheenthusiastof masudmeverhstoreflecttheflamessandabsh'actionhavetheir purposes. Fenollosa understood, alongside his propaganda for the chagé,tlm.ttheOdentalarthesogreatlyadmlmdhaditsaesthetic ofcaluflatedmmrvdngaugednonevents. ' — -' .L'. '4'. ,_ .br5& km” 'L-‘uuilfifi m’ I “JP-Lida" ' Viki .7. .-'=I._.3‘t -. le petit hesoin d’une vie d'une voix de qui n'a ni I’une ni l’autre la voix extorquée quelquee mots la vie parce que 9a crie c'est la preuve il n'y a qu’a enfancer hien profond un petit cri tout n'est pas mart on bait on donne a boir bonsai: c'était fe cite de bans moments quelque part de bons moments quand on y songe Pim et moi deuxiéme partie et Bom et moi quatrieme parlie ce que 9a sera callésl’unil’auh’eanefairequ’unseulcorpsdanslenoirla boue immabiles a part 1e bras droit qui s’agite brievement de loin en loin tout le nécessaire dire aprés ya que i’ai connu Pim que Pim m’a connu et Bom et moi que nous nous connaltrons méme fugitivement murmur deer, 148 WmckedsmmafiombetweenmyflmewithPhn,whmnItormented, andmytimewithBom,whoistotormentme.lpantheagonyfor littleflecks gold, though,it'snotthegaldbuttheactofpennlng . .———--—.————_——._—_ ._ . ..——-._ —_.... .— . . -———_— ..———. \ Beckett Trembling Bach“; Comment C'est : 209 —-.._———..-._._--—~.—— —..—._._..__.._—___. —. i i I . thesmallneedafalifeofavoiaebyonewhnhasneither thevoiceextartedafewwardslifehecaudethatcryispraof one has only to break through profound good a little cry all isnatlostwedrinkweafferadrlnkgoodnlgllut they were I quote good moments in part gaod moments when you think of them ' ' PimendearttwoandBomandem-tfourtecome say after that that it was personal knowledge we had then of one another i - glued together making a single body in the iEdark the mud motionless but for the right arm which moved briefly at great whiles allthatwasnecessary i ' sayafterthatthatlknewPimthatPimlmewme that Born and I willknow one another even fleetineg ! . 4mm” i I Ommrmfileswondpamg-aphwhaemyhyesmnmhledw profond"andneverrecheckedit,andone&uu§kinadequacyinthe fowthwherecequegasero—“Whatthatwfllbolflte...l”—defeated allattemptstoflndaneqmvalentthatdepemflalneitheronitalics noranplmctmflon. ...
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