Malone dies in the same way he finally does away with the alternate details of his storytelling, in a way that he can be seen as ‘becoming Malone’ additionally moment of Malone’s loss of life, so that his death causes the reader to recall first the story and the Malone already in existence right now there, restarting the narrative trap.
In effect, Malone’s storytelling makes an definitely looping continuity that reduces the finality of his death, mainly because ‘although the physical physique will sooner or later die, we all cannot be sure consciousness coupés, ‘ and fact, the novel seems to suggest that Malone’s consciousness by no means ultimately coupés, but rather quickly goes dark before staying reactivated once again at the beginning of the novel (White, 2009, 45). The misfortune, of course , is that Malone is entirely unequipped to deal with this sort of torturous immortality, so his mind is frayed and confused, with different characters and moments driving their method into his consciousness apparently against his will. Hence, he regularly reviews questions in his mind, attempting to think, but he knows that what ever he allows into the front of his consciousness will simply make him more puzzled: “If We start trying to think again My spouse and i shall help to make a mess of my decease” (Beckett, 176). There is excessive fluidity and complexity for the ideas in the mind, composed as they are through the recollections and experiences of an infinite number of readings, so he continually hops in one subject to one other with little organization, in the stars in the sky, to the clouds and parrots, to the few possessions this individual retains. Hence, Malone’s tale ‘starts with flawed fréquentation, goes on to more fragmented forms, and ends with the semi-coherent and absolutely opaque’ just before returning to the start (Richardson, 1953, 2).
In such a way, Malone’s illness is revealed to be the complications as a result of the over-examined life, pressured into a frequent reappraisal by panopticonic environment in which he eternally detects himself. Malone oscillates among participating in this kind of surveillance although his recounting of seemingly unimportant details and attempting to escape that through his deployment of stories that seems like a tragicomic blending of 1 Thousand and One Evenings and The Canterbury Tales. Malone attempts to escape his oppressive condition through death, and ‘the approach he begins to achieve this is by deploying a careful pattern of ideal distractions: informing himself 4 stories, performing an inventory of his belongings, and finally dying’ (McDonald, 06\, 98). To put it briefly, Malone ‘seeks to cost-free himself coming from his personality through writing’ and in doing so escape the panoptic confinement which identifies that personality in the first place (Higgins, 2007, 38).
These several stories reflection the informing of four tales by each character inside the Canterbury Tales (two reports on the way to Canterbury and two while returning to London) but in Malone Drops dead the situation can be slightly different; the narrator knows that death is definitely the journey of no returning, and so offers planned to tell all four testimonies on the way towards death, literally to ease his discomfort and apathy as he is stuck within a room, in the circumstance of the whole novel, the stories in order to direct the interest of the visitor elsewhere, to target the strengthening gaze in other characters so that Malone may wander into nothingness. This plan finally fails, as ‘the seemingly disparate story voices turn out in the end to become mere projections of a solitary isolated consciousness’ (Richardson, 1953, 95). Malone “loses himself completely in his stories when he weaves out-and-in of the Sapo, Macmann, and Moll reports, before ending finally together with his death (or rather his disappearance) inside the final episode” (Catanzaro, 2004, 120). Malone periodically takes on the identity of Macmann, and even the locations in Malone’s stories serve to blend together distinct narratives, for the reason that House of Saint Ruben of Our god asylum through which Macmann stays on is remarkably similar to spots in Beckett’s other performs, in particular Murphy’s fictional Magdalen Mental Mercy seat and the unnamed sanatorium of Watt (Smith, 2002, 25). This is exactly why ‘the labels change, the figures blur, they may be several persons or perhaps the same person, or figments of Malone’s own personality, ‘ although all provide the same sewing-embroidery (Barrett, 1956). This sewing-embroidery is noted by Paul Brooker in his consideration of boredom in Malone Dies when he claims:
To speak, in order to write, as it can be, together with his dwindling stub of pad lead, is always to produce variant, to take air travel from what Adorno, following Beckett, phone calls the ‘eversame’: to introduce a saving margin of differences to a continuum in any other case blankly homogeneous. This view of the function of Beckettian discourse might echo what actually is a alternatively traditional presumption that language, for this writer’s characters, staves something off – though perhaps the major candidate for that something have been death and also the void of an absurd universe, rather than the even more bathetic danger of monotony (Brooker, 2001, 31).
This ‘saving perimeter of differences’ mentioned by simply Brooker contains some commonalities to the idea of difference as talked about by Jacques Derrida, especially in the latter’s concern of the ‘theater of cruelty, ‘ which can be the performers’ act of violently disrupting the bogus reality of ideology through the ephemeral creation of a enjoy, resisting all attempts in solidification and so panoptic ensnarement through the play’s unique lifestyle as an objectless overall performance. This theory is crucial to a understanding of Malone Dies, because the difference possibly created by the theater from the cruel can be precisely the kind of ideological tool that will serve to uncover the ‘ultimate reality’ that ‘is rarely perceived’ due to the fact that “the globe [is] a mysterious place where looks are deceptive’ and ‘the human physical apparatus and intelligence offer poor equipment’ for uncovering these deceptions (Rabinovitz, 1977, 40).
Derrida proposes that “the theatre of cruelty would be the fine art of big difference and of expenses without overall economy, without book, without come back, without record, ‘ a thing towards which will Malone aims but eventually fails (Derrida, 1978, 248). In his storytelling, Malone is attempting ‘a representation that is not repetition  a re-presentation which is complete presence, which does not carry its double within by itself as its fatality [. ] a present which does not repeat itself, that may be,  a present outside period, a nonpresent’ which ‘offers itself consequently, appears, comes up, opens the stage of time or the time of the level only by harboring a unique intestine difference’ (Derrida, 1978, 248). Malone wants to notify his reports, to present these people as such, as separate from his own person so that they may redirect the interest of the visitor and eventually free him from the duplication of the book, but ‘he cannot maintain himself distinct from the story he is telling’ and so the ‘saving margin of difference’ this individual attempts to introduce in the novel hardly ever materializes; Malone ultimately hardly ever distinguishes himself from Macmann, and none Malone’s nor Macmann’s fatalities provide the chaotic, ‘cruel’ break Malone tries (Pattie, 2150, 69). “Malone of course disowns his thoughts altogether, providing them with to various personas such as Sapo and Macmann with which he recognizes only reluctantly” because he would like them to are present separate from him, to live and die and leave him to his own mortality (Barry, 2006, 100). Hence, at one particular point Malone abruptly fractures off his narration, wondering if he is not ‘talking yet again about himself’ ahead of continuing on:
Soon I actually shall not find out where Sapo comes from, nor what this individual hopes. Maybe I had better abandon this story and go on to the second, or even the third, one about the stone. Simply no, it would be exactly the same thing. I must simply be on my shield, reflecting upon what I thought before We go on and stopping, whenever disaster intends, to look at me personally as I are. That is precisely what I wanted to avoid. But there will be simply no other remedy (Beckett, 183).
Malone ultimately loses control over his own stories, though he establishes that “I shall attempt to go on nevertheless, a little longer, my thoughts elsewhere, I can’t stay here. We shall notice myself discussing, afar away, from my far mind, talking of the Lamberts, talking of myself, my mind wandering, not even close to here, between its ruins” (210). Yet , the one positive element of Malone’s condition, then simply, is that this individual seems to understand the impossibility of avoid early on, which usually ultimately generates the apathy mentioned previously in this article and allows Malone to create some of the most trenchant critiques of society