In 1964 Ruby Cohn remarked that "when Beckett turned from English to French as a writing language, his protagonists turned from a kind of Logical Positivism to a kind of Existentialism' (Cohn, 1964, p. 175). The landscape of Beckett criticism has changed considerably since the 1960s, yet there remains for critics a productive tension in Beckett's work between the empiricist underpinning of Anglo-American analytic philosophy and the more phenomenologically orientated philosophy characteristic of the European continent. The shift that Cohn identifies in Beckett's work runs parallel with the writer's move away from the anxiety regarding the relationship between language and the world that we see particularly in the novel Watt, to a greater exploration of the subject that inhabits that world, an exploration given powerful expression in the subsequent trilogy Molloy, Malone Dies, and The Unnamable. With his increasing focus on the nature of subjectivity, albeit a subjectivity in dissolution, Beckett interrogates the relation between the subject and the body that gives it a place within the impoverished yet enduring world that he has made his own.