Synecdoche's Obloquy: Beckett and the Performance of Indecency

In Beckett's Ireland, the practice of censorship was bound up with the workings of literary genre. The fact that printed matter was subject to censorship, while theatre was not, meant that the censor played a role in maintaining the distinction between dramatic and nondramatic writing. Many Irish authors responded to these conditions by remediating censored narratives as theatre. Beckett adopted an alternative strategy, rejecting the legal premises of Irish censorship and crafting his literary style around a critique of the censor's reading practices. Beckett's responses to the Irish censor track his turn from the novel to the drama. Across genres, Beckett's writing in English was shaped by the climate of post-publication censorship in Ireland, the effects of which are legible even in works that were never banned. Beckett's rejoinder to the censor was articulated using terms set out by the Irish Free State's Committee on Evil Literature, which held that censors could prohibit a text based on one ‘indecent’ passage, rather than evaluating that excerpt in the context of the work as a whole. For Beckett, the literary trope of synecdoche—that is, the rhetorical substitution of a part for the whole—became associated with the censor's mode of reading. Beckett harnesses the trope of synecdoche to impugn Irish censorship practices, a pattern evident from the direct address to the censor in Murphy to the dramaturgical evocation of self-censorship in Not I. The use of synecdoche illuminates Beckett's reckoning with his cultural inheritance as an Irish writer and indexes his shift towards a cosmopolitan literary identity.