On Beckett: Essays and Criticism (Revised Edition) (Anthem by S. E. Gontarski
By S. E. Gontarski
S. E. Gontarski (ed.)
“On Beckett: Essays and Criticism” is the 1st number of writings concerning the Nobel Prize–winning writer that covers the total spectrum of his paintings, and in addition provides a unprecedented glimpse of the personal Beckett.
More has been written approximately Samuel Beckett than approximately the other author of this century – numerous books and articles facing him are in print, and the development keeps geometrically. “On Beckett” brings jointly one of the most perceptive writings from the monstrous quantity of scrutiny that has been lavished at the guy; as well as generally learn essays there are contributions from extra vague resources, viewpoints now not usually visible. jointly they enable the reader to go into the area of a author whose paintings has left an influence at the recognition of our time maybe unequalled through that of the other contemporary artistic imagination.
The members contain the names of lots of the minds of the 20 th century who've grappled in print with the which means of the Beckett phenomenon. between them are a number of the artists who had an important position in bringing Beckett’s paintings to the level and who labored side-by-side with Beckett, comparable to Alan Schneider, Roger Blin, Herbert Blau and Jackie MacGowran. additionally incorporated are a number of the ideal writers of our time, whose stumble upon with the paintings of Beckett has produced lasting remark, corresponding to Georges Bataille, Maurice Blanchot and Martin Esslin. one of the famous Beckett students stumbled on listed below are Ruby Cohn, Walter D. Asmus, and James Knowlson. An interview with Susan Sontag and William S. Burroughs completes the book.
The crucial Beckett: A Preface to the second one variation – S. E. Gontarski; A Beckett Chronology; Acknowledgments; Crritics and Crriticism: “Getting Known”– advent by means of S. E. Gontarski; PRELIMINARIES: Beckett and “Merlin” – Richard W. Seaver; Samuel Beckett and the visible Arts: The Embarrassment of Allegory – Dougald McMillan; while is the tip now not the top? the assumption of Fiction in Beckett – Wolfgang Iser; THE web page: “Murphy” and the makes use of of Repetition – Rubin Rabinovitz; “Watt” – Lawrence E. Harvey; “Mercier and Camier”: Narration, Dante, and the Couple – Eric P. Levy; Molloy’s Silence – Georges Bataille; the place Now? Who Now? – Maurice Blanchot; The Voice and Its phrases: “How It Is”– J. E. Dearlove; The Unnamable’s First Voice? – Chris Ackerley; among Verse and Prose: Beckett and the hot Poetry – Marjorie Perloff; “Worstward Ho” – Dougald McMillan; THE level: MacGowran on Beckett – interview via Richard Toscan; Blin on Beckett – interview by means of Tom Bishop; operating with Beckett – Alan Schneider; Notes from the Underground: “Waiting for Godot” and “Endgame” – Herbert Blau; Beckett Directs “Godot” – Walter D. Asmus; Beckett Directs: “Endgame” and “Krapp’s final Tape” – Ruby Cohn; Literary Allusions in “Happy Days” – S. E. Gontarski; Counterpoint, Absence, and the Medium in Beckett’s “Not I” – Paul Lawley; practice session Notes for the German foremost of Beckett’s “That Time” and “Footfalls” – Walter D. Asmus; “Footfalls” – James Knowlson; Samuel Beckett and the artwork of Radio – Martin Esslin; mild, Sound, move, and motion in Beckett’s “Rockaby” – Enoch Brater; Beckett’s “Ohio Impromptu”: A View from the Isle of Swans – Pierre Astier; “Quad” and “Catastrophe” – S. E. Gontarski; CODA: Burroughs with Beckett in Berlin – edited via Victor Bockris; Notes on members
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Extra info for On Beckett: Essays and Criticism (Revised Edition) (Anthem Studies in Theatre and Performance)
Murphy desires Celia and yet needs to find tranquillity in the microcosm; Mercier and Camier, or finally the narrator, need a purpose, a direction to their lives, and so they undertake a directionless journey. In Watt the need is more epistemological, in Company more aesthetic, but Beckett’s protagonists—deteriorating, fragmented, or disembodied—are all moved by needs often ill understood. The extratextual parallel is the reader who needs to order texts, as Blanchot suggests of The Unnamable.
47. , 21–22. , 18. , 29–31. , 39. , 35. , 38. , 48. , 42. Charles Marowitz, “Paris Log,” Encore (March 1962), 45. The problem of textual deviation has been with Beckett from the first. As early as 9 January 1953, writing to Roger Blin about the incomplete fall of Estragon’s trousers, Beckett noted: “Soyez seulement assez gentil de le rétablir comme c’est indiqué dans le texte…” (Only be kind enough to restore it as the text indicates…). 26 For an overview of the problems of performance changes see James Knowlson, “State of Play: Performance Changes and Beckett Scholarship,” Journal of Beckett Studies (10), 109–20.
The man shrugged and gestured me upstairs. In a second-floor office I repeated my question to a lady at a typewriter. ” She picked up an antiquated telephone and dialed. The person she called, I later learned, was Jérôme Lindon, owner and editor of Minuit, a man I would soon meet and come to admire beyond measure. 2 But,” she went on, “there is another Beckett novel available from another publisher, Bordas, which I believe is still in print. ” Murphy, Molloy, Malone…. Decidedly, Beckett had a thing about M’s.