Inside This Issue

Authorised Beckett biographer James Knowlson shares previously unpublished insights into Beckett’s most famous play; Michael Coffey reviews two distinctive Beckett productions in New York City; Gabriel Quigley sits down with the artistic director of Company SJ, Sarah Jane Scaife; Rhys Tranter asks Beckett scholar Paul Stewart about his decision to appear in a production of Krapp’s Last Tape; Luz María Sánchez Cardona tells us what we can expect from the 4th Annual Samuel Beckett Society Conference in Mexico; Feargal Whelan reviews a production of How It Is from the Gare St Lazare Players; Gareth Mills joins an Editing Modernist Letters workshop at the University of Reading; Amanda Dennis reports back on the How It Is Symposium in Paris; Hannah Simpson attends an exhibition of Jasper Johns‘s work with a reading from Lisa Dwan; and James Brophy and Hannah Simpson review the third annual Samuel Beckett Society conference in Halifax, Nova Scotia.

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Posted by:Rhys Tranter

Rhys Tranter is a writer based in Cardiff, Wales, UK. He is the author of Beckett's Late Stage (2018), and his work has appeared in the Times Literary Supplement, The Spectator, and a number of books and periodicals. He holds a BA, MA, and a PhD in English Literature. His website is a personal journal offering commentary and analysis across literature, film, music, and the arts.

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