‘I do, I undo, I redo’: Louise Bourgeois and Samuel Beckett

Louise Bourgeois and Samuel Beckett were both from comfortably bourgeois families; both had a strained relationship with one parent and undertook psychoanalytic treatment while grieving the deaths of their fathers; both were academically successful and placed great emphasis on studying; both were marked by the First and Second World Wars; both experienced the disorientations and liberations of exile and working between languages; and finally, after a period of relative neglect, both achieved celebrity and critical acclaim later in life.   Drawing on Bourgeois’s notebooks and diaries in her New York archive, in which Beckett makes fleeting appearances, this article presents a comparative reading of Bourgeois and Beckett, and identifies a significant number of affinities in their creative preoccupations and strategies, points of confluence that call into question assumptions by their respective critics that their creative practice is exceptional. A comparative reading with a female artist has the additional benefit of situating Beckett outside the masculinist heritage in which he has been inscribed, and brings into focus the gender bias that has been evident in both sets of scholarship. At once modernist and contemporary due to their longevity and the variety of their prolific output (over seventy years for Bourgeois and sixty for Beckett), Bourgeois and Beckett have both been successfully canonised: vital points of reference for artists and writers today, exhibitions and productions of their work also draw huge crowds. Their respective critics have hailed the work of Bourgeois and Beckett as remarkable and distinctive, setting them apart from their fellow artists and writers. They share a creative strategy, however: both dedicated themselves to a narrow range of themes and pursued these through the adoption of a diverse range of media, play with scale, and an unceasing experimentation with form.