Abstract: Beckett’s writing in Texts for nothing involves a movement of perpetual correction which elicits a comparison with the plastic and graphic arts. In its remote dialogue with the works of Bram van Velde or Giacometti, the gesture of reworking (pentimento) indeed allows us to question anew certain principles of Beckettien creation. For example, confusion and clumsiness, as well as the relationship between repetition, subjectivity and memory, and the literary experiment of a gesturality for nothing (or almost) without artwork nor medium.
