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‘with the mechanics of which I am unfamiliar’: The Strangeness of Technology in Beckett

In a letter to Donald McWhinnie of 7 March 1958, Samuel Beckett mentions that his new monologue ‘involves a tape-recorder with the mechanics of which I am unfamiliar. I can’t release it until I check up on some points. I have asked John B. to send me a book of the words (instructions for use)’. To what extent can technical difficulties be seen more broadly as creative generators in Beckett’s work? Can the use of technology, including tape recorders (Krapp’s Last Tape), or even desk lamps (Rough for Theatre II), be seen as material evidence of a desire to explore the mechanics of failure? Does Beckett use technology as a means of ‘defamiliarising’ writing, rendering the process strange through technological as much as linguistic means? Exploring first the uncanny role of instruction manuals in Beckett’s work, and then the unsettling presence of electronics on stage, this chapter suggests that Beckett’s dramatic works are wired for highly fruitful technological and mechanical failures.

Edinburgh University Press

Dúnlaith Bird

Samuel Beckett and Technology

2022

Title: ‘with the mechanics of which I am unfamiliar’: The Strangeness of Technology in Beckett

Description:

In a letter to Donald McWhinnie of 7 March 1958, Samuel Beckett mentions that his new monologue ‘involves a tape-recorder with the mechanics of which I am unfamiliar.

I can’t release it until I check up on some points.

I have asked John B.

to send me a book of the words (instructions for use)’.

To what extent can technical difficulties be seen more broadly as creative generators in Beckett’s work? Can the use of technology, including tape recorders (Krapp’s Last Tape), or even desk lamps (Rough for Theatre II), be seen as material evidence of a desire to explore the mechanics of failure? Does Beckett use technology as a means of ‘defamiliarising’ writing, rendering the process strange through technological as much as linguistic means? Exploring first the uncanny role of instruction manuals in Beckett’s work, and then the unsettling presence of electronics on stage, this chapter suggests that Beckett’s dramatic works are wired for highly fruitful technological and mechanical failures.

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