Abstract

The article argues that Beckett's Trilogy stages the effects of a lobotomy operation on a potentially politically subversive writer, and that the consequences of the operation can be traced in both the retreat of the narrator of the Trilogy into the mind and into comatose mental states and in the detail of the operation itself, based on the 'icepick' lobotomies performed by neurologist Walter Freeman in the late 1940s and early 1950s. To write about extreme psychiatric situations in the post-war period is necessarily to invoke the political uses of psychosurgery with which this article engages. The article goes on to consider the figure of the brain-damaged mind as a Cold War trope in the references to botulism and the motif of the penetrated skull in The Unnamable.