ITF Grafikdesign

russianavantgarde:

Image from El Lissitzky’s Suprematist story — of two squares [Suprematicheskii Skaz], 1922.

Alain Badiou writes:

Even though Molloy, Malone and the Unnamable seek out and encounter other supposed subjects, they move towards their own solitude. The tone of The Unnamable could even be described as starkly solipsistic. Without doubt it is in Beckett’s theatre, with the couples of Vladimir and Estragon (Waiting for Godot) or Hamm and Clov (Endgame), that something which will not cease to be at the heart of Beckett’s fictions comes to the fore: the couple, the Two, the voice of the other, and lastly, love. Both to defer and to beckon death through distance, Malone recounts all the elements that this love contains: “…what flutterings, alarms and bashful fumblings, of which only this, that they gave Macmann some insight into the meaning of the expression, Two is company…”