Authorised Beckett biographer James Knowlson shares previously unpublished insights into Beckett’s most famous play; Michael Coffey reviews two distinctive Beckett productions in New York City; Gabriel Quigley sits down with the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; and much more
“Samuel Beckett’s How It Is: Philosophy in Translation maps out the novel’s complex network of intertexts, sources and echoes, interprets its highly experimental writing and explains the work’s great significance for twentieth-century literature. It offers a clear pathway into this remarkable bilingual novel, identifying Beckett’s use of previously unknown sources in the history of Western philosophy, from the ancient and modern periods, and challenging critical orthodoxies. Through careful archival scholarship and attention to the dynamics of self-translation, the book traces Beckett’s transformation of his narrator’s ‘ancient voice’, his intellectual heritage, into a mode of aesthetic representation that offers the means to think beyond intractable paradoxes of philosophy. This shift in the work’s relation to tradition marks a hiatus in literary modernism, a watershed moment whose deep and enduring significance may now be appreciated.”
“Samuel Beckett and the Visual Arts is the first book to comprehensively assess Beckett’s knowledge of art, art history and art criticism. In his lifetime Beckett thought deeply about visual culture from ancient Egyptian statuary to Dutch realism, from Quattrocento painting to the modernists and after. Drawing on a wide range of published and unpublished sources, this book traces in forensic detail the development of Beckett’s understanding of painting in particular, as that understanding developed from the late 1920s to the 1970s. In doing so it demonstrates that Beckett’s thinking about art and aesthetics radically changes in the course of his life, often directly responding to the intellectual and historical contexts in which he found himself. Moving fluently between art history, philosophy, literary analysis and historical context, Samuel Beckett and the Visual Arts rethinks the trajectory of Beckett’s career, and reorients his relationship to modernism, late modernism and the avant-gardes.”
This month marks the publication of the twenty-seventh volume of the Journal of Beckett Studies. To access the journal, or find out more about its contents, visit the official website at Edinburgh University Press.
“In the summer of 1935, Samuel Beckett and his widowed mother, May, took a three-week road trip together in England. It is not clear whose idea it was, but Beckett, who was living in an almost destitute state in London at the time, seems to have gone along with the plan willingly enough. With his mother paying all expenses, he hired a small car and took her on what he called a “lightning tour” of English market towns and cathedral cities including St Albans, Canterbury, Winchester, Bath and Wells. They covered hundreds of miles, driving as far as the West Country and spending almost three weeks together.
Beckett described their trip together in letters to his friend Tom MacGreevy, later the director of the National Gallery of Ireland. After they reached the West Country, he told MacGreevy, their hired car struggled with the “demented gradients, 1 in 4 a commonplace” around hilly Porlock and Lynton. They decided not to spend a night in the seaside resort of Minehead: one look at it was enough. Instead, they spent almost a week in a comfortable hotel in Lynmouth, close to where Shelley was said to have stayed. From there they went on day excursions around the coast and toured the literary locations of North Devon, including the Exmoor of Lorna Doone and the bathing place of Westward Ho! on Bideford Bay, named after Charles Kingsley’s famous book.”
April 13th marks 112 years since the birth of Irish writer, playwright, and Nobel laureate Samuel Beckett. To celebrate, we at the Samuel Beckett Society have assembled a collection of links to celebrate his life, work, and legacy. Enjoy!
Volume 30, Issue 1 of Samuel Beckett Today / Aujourd’hui is a special issue entitled The Poetics of Bilingualism in the Work of Samuel Beckett / La poétique du bilinguisme dans l’œuvre de Samuel Beckett. For more information, visit the publisher’s website.
Originally written in French and first performed at the Royal Court Theatre in 1957, Samuel Beckett’s Endgame is widely regarded as one of his most important works. The Making of Samuel Beckett’s ‘Endgame’/’Fin de partie’ is a comprehensive reference guide to the history of the text.
First performed in 1953, Waiting for Godot is Samuel Beckett’s masterpiece and one of the most important dramatic works of the 20th century. The Making of Samuel Beckett’s ‘Waiting for Godot’/’En attendant Godot’ is a comprehensive reference guide to the history of the text.
Beckett, Lacan and the Mathematical Writing of the Real proposes writing as a mathematical and logical operation to build a bridge between Lacanian psychoanalysis and Samuel Beckett’s prose works. Arka Chattopadhyay studies aspects such as the fundamental operational logic of a text, use of mathematical forms like geometry and arithmetic, the human obsession with counting, the moving body as an act of writing and love, and sexuality as a challenge to the limits of what can be written through logic and mathematics. Chattopadhyay reads Beckett’s prose works, including How It Is, Company, Worstward Ho, Malone Dies and Enough to highlight this terminal writing, which halts endless meanings with the material body of the word and gives Beckett a medium to inscribe what cannot be written otherwise.