In his review of Beckett’s final novel, How It Is, V.S. Pritchett concluded that Beckett had paid ‘a heavy price in obscurity, pretentiousness and awful boredom.’ Evidently Pritchett was not a fan of Beckett’s free-wheeling with punctuation, lack of a plot and experiments with language. Blasphemous as it is, it’s possible to see his point of view, reading about the exploits of someone traversing a barren desert landscape with a bag of tins around their neck, seeking an other to rhythmically mash with a can-opener isn’t everyone’s idea of a good story.
Pritchett qualifies his critique with the point that there are ‘lyrical glints’ aplenty that mollify his more righteous instincts in his crusade against all things pretentiously boring and obscure. This can sometimes reflect the experience of reading texts that are in some ways manufactured to be monotonous and alienating, the Pritchetts of the world soldier vainly onward like the ‘protagonist’ Pim on his face in the dirt, (‘mouth opens the tongue comes out lolls in the mud and no question of thirst either’) tongue lolling outwards, thirsty for some more ‘lyrical glints’ amid the discordant grikes.
The following is one such lyrical glint:
we are on a veranda smothered in verbena the scented sun dapples the red tiles yes I assure you the huge head hatted with birds and flowers is bowed down over my curls the eyes burn with severe love I offer her mine pale upcast to the sky whence cometh our help and which I know perhaps even then with time shall pass away
Pritchett is correct in pinpointing these as one of the stand-out features of the novel, they are indicative of a certain kind of childhood memory that circulate throughout the text and occur compulsively, saturated in the sepia of nostalgia. But what makes them that much more poignant is the contrast with Pim’s reality, the seeming intensity of his inner life at one point, (whether it can be said to be dormant or a remnant of what it once during the narration of How It Is is somewhat moot) makes the degradation of his current state all the more incomprehensible and, though one shouldn’t be prone to making these sort of value judgements on a novel that repudiates the mechanism of characterisation, upsetting.
For example, a section of his monologue rendered below. Words that are capitalised are ones he is communicating to his ‘companion’ Bom, by smacking him with a can-opener.
as it comes bits and scraps all sorts not so many and to conclude happy end cut thrust DO YOU LOVE ME no or nails armpit and little song to conclude happy end of part two leaving only part three and last the day comes I come to the day Bom comes YOU BOM me Bom ME BOM you Bom we Bom