Abstract
Samuel Beckett pursues a practice of “vaguening” his late work as a strategy that eschews an art of clarity in pursuit of vagueness as an aesthetic value in itself. Beckett’s concern with the aesthetics of vagueness can be traced back to his earliest fiction and poetry, and his evolving ideas reflect and illuminate other theories of vagueness in art, from Keats’s Negative Capability to postmodern theories of “fuzzy fiction.” After an aesthetic turning point in 1962, when he advocated a “new form” in art that will “allow the mystery to invade us,” vagueness begins to dominate his late work, finding its fullest expression in Ill Seen Ill Said. Ultimately, Beckett aims not to thematize vagueness, but to reveal it—to embody the vague in art.
Published Version
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