In this study of Molloy, Malone Dies and The Unnamable, Lawrence
Miller traces Beckett's attempt to voice the expressive dilemma
that is posed by the assumptions of modernist art and art
criticism. A preliminary examination of Beckett's critical writings
on literature and painting reveals a growing suspicion of modernist
ambitions; it is the trilogy of novels, however, which represents
Beckett's most sustained rejection of the feasible aspirations of
an expressive theory of art. Still, the goal of expression cannot
be abandoned since it represents the essence of the human
condition; the compulsion inevitably triumphs over the longing to
end.
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