Abstract

In 1943, in Faux pas, six years prior to Samuel Beckett’s famous aesthetic pronouncement in “Three Dialogues with Georges Duthuit” , 1 Maurice Blanchot wrote in his essay “From Dread to Language”: “The writer finds himself in this more and more comical position – of having nothing to write, of having no means of writing it, and of being forced by an extreme necessity to keep writing it” . The similarity between the two positions is intriguing, and perhaps no mere coincidence. Indeed, reading Blanchot’s theoretical pieces, we discover the plane of the unfeasible that inhabits, as well, the Beckettian universe