Abstract
The Unnamable is more than difficult, it gives voice to the new. Maurice Blanchot's theory of the work and the neutral provides a significant contribution to Beckett criticism because through these ideas, he responds to Beckett's capacity for invention. Blanchot be lieves that the work, as an autonomous object, is borne out of diffi culty. Beckett's writing is not only exemplary of this, it plays out the suffering and frustration of transforming words into ideas, ideas into stories and stories into memories. Beckett goes further than illustrate philosophical concepts, he dramatises them. The Unnamable gives them voice, breath, sound and silence. The words which form the title of this article - the work, the neutral and The Unnamable - are connected by a spirit of invention, by a daring sensibility that could be described as dangerous. In Where Who Now? Maurice Blanchot refers to The Unnamable as a
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