Abstract
Beckett was caught amid the stylistic excesses of Modernism. Unlike many of his contemporaries, however, these excesses worked in the negative direction of 'unsaying' and missaying', subtractive grammatical orders that resist the depths of humanistic hermeneutics in order to emphasise the visual surface and what Beckett called 'camera images'. Levinas casts the project of 'unsaying' as more generally addressing the problem of attaching thought to being, a project Beckett exemplifies in his later texts. His texts are therefore defined not by what they mean, but by our sense of the difference between meaning and non-meaning significance and mere noise. This difference is inaccessible to hermeneutics, but it is the locus of what might be called post-hermeneutic thought.
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