In her blurb for Registration Caspar, poet Divya Victor described the text — part genre fiction, part avant-garde experiment — as one in which “all of … Beckett’s unfulfilled plans and undeployed scenarios have come back to haunt.” She isn’t wrong: taking the form of a log written before the imminent “erasure” of Caspar (a non-gendered “entity” rushing to save money for the two partners they will leave behind), the text is certifiably Beckettian, in the sense that the reader’s patience is challenged by what Bataille would call an “incontinent flux” of language.
One curious aspect of so-called Conceptualism is the form’s latent interplay of excess and insufficiency. If a given Conceptual work privileges dissolution, then what precisely is being dissolved? Is the text meant to serve as the deleterious excretion of a corrosive authorial edifice? Or is the authorial edifice also in on the decay, and so reified? And if dissolution is part of the game at all, then why is its published output so frequently beholden to relative girth and overload?