Molloy, in the novel's first section, and Jacques Moran, in the second, become abject by suppressing or rejecting rather than confronting what appalls and fascinates them, including each other. Abjection, Kristeva states in Powers of Horror (1980), is our terror of and obsession with horror. ![]() Throughout their journeys, their self-reflexive narratives expose the revulsion of being that is inherent in abjection, conceived of by Julia Kristeva as the repulsion and attraction felt for that which menaces our sense of order, threatening the boundaries we try to construct between psychosis and ourselves. Characters in Molloy, as in many of Beckett's works, slide toward physical, psychic, and narrative oblivion yet continue existing.
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