Accident as Event
Dealing with a broad sweep of experimental novels of the period that make accident a central concern, this chapter examines writing by Samuel Beckett, Brigid Brophy, Eva Figes, Gabriel Josipovici, Nicholas Mosley, Muriel Spark, and Stefan Themerson. In these the accident emerges as a thematic motif or philosophical principle: as chronological paralysis, traumatic violence, revelatory or epiphanic understanding, or eroticized encounter with technology. In late modernism, the uneasy mingling of the precariousness induced by an awareness of life as threatened by the atomic as well as constituted by it seems contradictory to an understanding of the accident as inevitable. This is prevalent in Beckett’s invocation of the void as much as in the frantic figurations of a writer like Brophy. The accident then emerges as what reveals the late modernist disposition to passivity, non-mastery, dissolution, and silence, pushing at the limits of what can and cannot be known.