- Paperback: 256 pages
- Publisher: Calder Publications Ltd; New edition edition (Jun 1970)
- Language English
- ISBN-10: 0714506109
- ISBN-13: 978-0714506104
- Product Dimensions: 19.6 x 13 x 2 cm
- Average Customer Review: 3.2 out of 5 stars See all reviews (4 customer reviews)
- Amazon Bestsellers Rank: 397,745 in Books (See Top 100 in Books)
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Product Description
Book Description
For the first time in Faber editions, a newly edited and corrected text of this classic novel
--This text refers to an alternate
Paperback
edition.
Book Description
Watt was the beginning of Samuel Beckett's post-war literary
career, the fruition of his years spent in hiding from the Gestapo in the
Vaucluse mountains, which also largely inspired "Waiting for Godot".
career, the fruition of his years spent in hiding from the Gestapo in the
Vaucluse mountains, which also largely inspired "Waiting for Godot".
Despite these circumstances, 'Watt' remains, unlike the work that followed
it, extremely Irish - a philosophical novel full of the grim humour that
was already his trade-mark in such earlier fictions as "More Pricks Than
Kicks" and "Murphy".
The preambulations of 'Watt', especially in the home of the eccentric Mr.
Knott, and the sketching of logic to elicit meaning, must be among the most
comic inventions of modern literature.
First published by the libertine Olympia Press in 1953 it has established
itself as one of the most quoted and best-loved of Beckett's novels. The
typographical oddities and omissions are as Beckett left the text.
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Most Helpful Customer Reviews
5 of 5 people found the following review helpful:
4.0 out of 5 stars
Bizarre and brilliant,
By mudskippa "mudskippa" (London) - See all my reviews
This review is from: Watt (Paperback)
To respond to the reviewer who thinks Watt is a load of rubbish, even if you don't understand the themes and literary devices, I fail to see how you could not find this book just incredibly funny. I love much of Beckett's work for the former reason, but the latter is what makes this my most-read book on my shelf. Not as deep, poetic, symbolic or clever as The Trilogy or Endgame, but it's just an utter joy to read. Love it.
10 of 12 people found the following review helpful:
4.0 out of 5 stars
Developing Narrative Perspective,
By
This review is from: Watt (Picador Books) (Paperback)
In Watt the third person narration Beckett uses shares an uncomfortable relationship to the characters of the story. It is based either on anonymity or antagonism. This is different from the common intimate relation that the narrators of fiction share with the characters they tell us about. The result of Beckett's writing technique is that the reader can get no sense of a total picture or a comprehensive truth of the character's reality. The narrator is just as curious and confused by the nature of reality in the fictional world as the characters. In the first half of ¡®Watt¡¯ the narrator shows an estrangement from Watt equal to that which Watt shows toward himself. This is not the unreliable narrator of traditional fiction, but a narrator whose ignorance is a cause of the technique of telling which seeks to provide a total viewpoint of reality. The narrator of Watt, rather than assuming the position of a narrator who is a guide through the tale, functions as an unnecessary intermediary between the characters and their search for an understanding of reality. Who else but Watt can effectively relate the experience of his being? Consider Lawrence Harvey¡¯s point in his essay on Watt, "He [Watt] becomes a storyteller, but one who by this time is so convinced of the inadequacy of ordinary language that he feels compelled to invent verbal structures that are more closely related to his experience.¡± Watt himself is dissatisfied with the way the narrator is telling the story in the first half of the novel and so tells in his own unique mode of expression his story to Sam who acts as an interpreter. This points to a growing dissatisfaction with language as a way of telling in the text and debunks the impossible power of the third person narrator.Sam, who writes in the first person of his relationship with Watt, narrates the second half of the novel. Because Sam's subjective view isn't constrained by the obligations of the supposed all-knowing omniscient narrator, he can more effectively convey that the experience of being is unknowable and unnamable. He admits to the inefficiency of his communication with Watt because it is burdened by the hindrance of their environment and their physical inadequacy. A first person narration is limited by its partial point of view of reality, but it is this limited viewpoint that Beckett seems to be trying to convey. For all of Sam's studious attention and examination of Watt, we are left just as baffled as to who he is as the characters observing Watt at the beginning of the novel, but at least it is a view more conscious of its subjectivity than the omniscient narrator could provide. In the first half of the novel we were given descriptions of the fallibility of logic and in the second half we are given a direct account of the ways in which each solution obtained only generates multiple objections. The first person narrative¡¯s direct account thus points to a conscious subjectivity that deletes the assumptions made in omniscient narration that this view of reality is a true representation of what it actually is. However, it becomes apparent in the narrative that the fallibility of reason reveals itself to be not limited to a complication caused by the point of view in telling, but in the nature of the written language used to tell. He develops this point well in his subsequent fiction, but Watt is a fascinating look at how these different narrative perspectives work and is a rich, comic novel to read.
24 of 35 people found the following review helpful:
4.0 out of 5 stars
Developing Narrative Perspective,
By A Customer
This review is from: Watt (Paperback)
In 'Watt' the third person narration Beckett uses shares an uncomfortable relationship to the characters of the story. It is based either on anonymity or antagonism. This is different from the common intimate relation that the narrators of fiction share with the characters they tell us about. The result of Beckett's writing technique is that the reader can get no sense of a total picture or a comprehensive truth of the character's reality. The narrator is just as curious and confused by the nature of reality in the fictional world as the characters. In the first half of Watt the narrator shows an estrangement from Watt equal to that which Watt shows toward himself. This is not the unreliable narrator of traditional fiction, but a narrator whose ignorance is a cause of the technique of telling which seeks to provide a total viewpoint of reality. The narrator of Watt, rather than assuming the position of a narrator who is a guide through the tale, functions as an unnecessary intermediary between the characters and their search for an understanding of reality. Who else but Watt can effectively relate the experience of his being? Consider Lawrence Harveys point in his essay on Watt, "He [Watt] becomes a storyteller, but one who by this time is so convinced of the inadequacy of ordinary language that he feels compelled to invent verbal structures that are more closely related to his experience. Watt himself is dissatisfied with the way the narrator is telling the story in the first half of the novel and so tells in his own unique mode of expression his story to Sam who acts as an interpreter. This points to a growing dissatisfaction with language as a way of telling in the text and debunks the impossible power of the third person narrator.Sam, who writes in the first person of his relationship with Watt, narrates the second half of the novel. Because Sam's subjective view isn't constrained by the obligations of the supposed all-knowing omniscient narrator, he can more effectively convey that the experience of being is unknowable and unnamable. He admits to the inefficiency of his communication with Watt because it is burdened by the hindrance of their environment and their physical inadequacy. A first person narration is limited by its partial point of view of reality, but it is this limited viewpoint that Beckett seems to be trying to convey. For all of Sam's studious attention and examination of Watt, we are left just as baffled as to who he is as the characters observing Watt at the beginning of the novel, but at least it is a view more conscious of its subjectivity than the omniscient narrator could provide. In the first half of the novel we were given descriptions of the fallibility of logic and in the second half we are given a direct account of the ways in which each solution obtained only generates multiple objections. The first person narratives direct account thus points to a conscious subjectivity that deletes the assumptions made in omniscient narration that this view of reality is a true representation of what it actually is. However, it becomes apparent in the narrative that the fallibility of reason reveals itself to be not limited to a complication caused by the point of view in telling, but in the nature of the written language used to tell. He develops this point well in his subsequent fiction, but 'Watt' is a fascinating look at how these different narrative perspectives work and is a rich, comic novel to read.
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