"Texts For Nothing"
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None of the thirteen "Texts for Nothing" were given titles; they present a variety of voices thrust into the unknown. According to S. E. Gontarski: "What one is left with after the Texts for Nothing is 'nothing,' incorporeal consciousness perhaps, into which Beckett plunged afresh in English in the early 1950s to produce a tale rich in imagery but short on external coherence." Thus these texts, when compared to the three earlier stories, as well as First Love, may be interpreted as representing a movement in Beckett's writing from Modernism to Post-Modernism. Unlike the earlier stories, these pieces are no longer completed stories but shards - "aperçus of a continuous unfolding narrative, glimpses at a never to be complete being (Narrative)." This idea is voiced in text 4, where the narrator admits stories are not required any more:
There's my life, why not, it is one, if you like, if you must, I don't say no, this evening. There has to be one, it seems, once there is speech, no need of a story, a story is not compulsory, just a life, that's the mistake I made, one of the mistakes, to have wanted a story for myself, whereas life alone is enough.
Read more about this topic: Stories And Texts For Nothing
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“I know that I will always be expected to have extra insight into black texts—especially texts by black women. A working-class Jewish woman from Brooklyn could become an expert on Shakespeare or Baudelaire, my students seemed to believe, if she mastered the language, the texts, and the critical literature. But they would not grant that a middle-class white man could ever be a trusted authority on Toni Morrison.”
—Claire Oberon Garcia, African American scholar and educator. Chronicle of Higher Education, p. B2 (July 27, 1994)