By distinguishing the respective meanings of interpretation and literary creativity, Samuel Beckett’s work contributes a great deal to metapsychology and even to a psychological theory of translation. His writing is not so much the continuation of a psychoanalysis but rather a questioning about the relationships between the foreign and the familiar that led him to analysis as well as, before and after, towards different changes of representative containers. The use that he makes of a language that is not his mother tongue establishes an archaic object-relation, his self-translation supports a fantasy functioning as a process, and all of this is more comparable to a bodily mediation, and even a self-hypnotic trance, than to a classical analysis.